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Full text of "Motion Picture (Feb-Jul 1933)"

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AUDIO-VISUAL CONSER\^.\TION 
at The LIBRARY jf tONGRLSS 



Packard Campus 

for Audio Visual Conservation 

www.loc.gov/avconservation 

Motion Picture and Television Reading Room 
www.loc.gov/rr/mopic 

Recorded Sound Reference Center 
www.loc.gov/rr/record 





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FORMERLY 
25 CENTS 




IN CANADA 20c 



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HAVE YOU 
LIPS LIKE 
MOVIE STARS? 




LORETTA YOUNG 
by 



m CLARK GABLE A QUESTION 



* * * SEE PAGE 30 



w 



omen 

COUNT 
COSTS 

Vhey choose this lL^t 
tooth paste only because it 
gives new beauty and lustre 

• Among the three million users of 
Listerine Tooth Paste are thousands 
upon thousands of women of this type 
— well educated, well informed, critical 
of values, and with ample means to ful- 
fill their wants. Such women would never 
compromise with quality for the mere 
sake of economy. Clearly, their rejection 
of older and costlier favorites for Lister- 
ine Tooth Paste was based, not upon 
the latter's price, but upon the brilliant 
and satisfying results it gave them. 

If you have not tried this remarkable 
new dentifrice, made by the makers of 
Listerine, do so now. Buy a tube. Try 
it for a week or more and then note the 
improvement in your teeth. 

See how clean they are — how clean 
they feel, both in front and in back. 

Note the absence of repellent tartar 
and the unsightly stains of food and 
tobacco. 

Observe the flash and brilliance that 
this tooth paste gives to teeth. 

They are due to those swift-acting, 
fine-textured, cleansing and polish- 
ing agents that make Listerine 
Tooth Paste outstanding. i" 

Look for the delightful feeling 
of freshness and invigoration that 
follows the use of this paste — the 
taste you associate with Listerine 
itself. And, of course, you know it 
makes your breath sweeter. 

In case you're interested, the 
price of 25^ saves you about I3.00 
a year over tooth pastes in the 50^ 
class. Not a staggering sum, but a 
welcome one in these times. Lam- 
bert Pharmacal Co., St. Louis, Mo. 



WoN 



c\ 



^ 






ever 




LISTERINE 



. . it makes the breath sweeter 



The makers of ListerineTooth Paste 

recommend 
Pro-phy-lac-tic Tooth Brushes 



TOOTH 
PASTE 







FEBRUARY 
1933 



Motion fidure 

Stanley V. Gibson, Ptihlisher 
Laurence Reid, Editor 



CT^^M^ 




LORETTA 

Young 

Grows 

into a Star 

While we are celebrating 
our twenty-second birthday, 
Loretta is observing her twen- 
tieth. In one more year, 
she'll be all "grown up" — 
and before another year, she 
will be a star! 

Her life began, really, with 
"Life Begins." That proved 
that this youngster, who had 
never had any acting expe- 
rience except in the movies, 
could emote with all the 
poignancy of a Helen Hayes. 

A poised, beautiful, "sweet 
young thing" before, she 
suddenly flashed emotional 
power. Overnight, she has 
become an actress to reckon 
with — a candidate for star- 
dom. Now she is headed 
straight for the role of The 
Nun in "The Miracle!" 



ex5^,%^ 



Herman Schoppe, Art Director 



Twenty-Second Year 
Volume XLV', N'o. i 



^%^ 



^%V0 



Features 

No More "Nighties" for Jeanette Nancy Pryor -lj 

The Hollywood Frivolities of 1932 Gladys Hall xS 

Ask Clark Gable a Question 30 

Have You Lips Like Movie Stars? Helen Louise Walker 31 

"I'm Leaving, but I'll Be Back"— Tallulah Bankhead . L. O. Mosley 35 

Seeing "Cavalcade" Thru Hollywood's Eyes .... Grant Jackson 40 

We Nominate for Stardom — Your Future Favorites 41 

Clothes Gossip from Hollywood Marilyn 44 

What Has Marriage Done to George Brent? . . . Dorothy Manners 49 

How Sari Maritza Was Made a Star Elisabeth Goldbeck 51 

Motion Picture Celebrates Its 22nd Birthday . 52. 

Where You'll Find the Stars at Play .... Dorothy Calhoun 56 

The Mayor of Radio City — "Roxy" Cruikshank 58 

Mary Pickford Starts "Secrets" All Over Again . . . Faith Service 60 

Hero to Two Million Kids! — Buck Jones Janet Burden 64 

Departments 

Your Gossip Test Marion Martone 6 

What The Stars Are Doing Marion Martone 8 

Letters From Our Readers 10 

Movie Star Calendar Jose Schorr 11; 

The Movie Circus Frank Morley li 

Featured Shorts James Edwin Reid 14 

News and Gossip 36 

The Picture Parade 66 

Tip-OfFs on the Talkies J. E. R. 74 



Cover Design of Loretta Young Painted By Marland Stone 
^ = 



^^N^ 



Dorothy Donnell Calhoun, Western Editor 



Motion Picture is published monthly at 350 East 22nd Street. Chicago, 111. by Motion Picture Publications, Inc. Entered as second class matter August 31, IQ28, at the 
Post Office at Chicago, Illinois, under the Act of March 3, iSyg: Printed in U . S. A . Editorial and Executive Offices: Paramount Building, 1301 Broadway, New York City, N . Y . 
Copyright 1932 by Motion Picture Publications, Inc. Single copy 15c. Subscriptions for U.S., its possessions, and Mexico $1.80 a year, Canada $3.30, Foreign Countries 
$3.30. European Agents, Atlas Publishing Company, 18 Bride Lane, London, E. C. 4. Stanley V. Gibson, President-Publisher, William S. Petlit, Vice President, Robert E. 

Canfield, Secretary-Treasurer. 




Wide World 



International 



Your Gossip Test 



By Marion Martone 



1. Can you give the names of 
the two pictured above at the 
left, watching the Six-Day Bi- 
cycle Races in Hollywood? 

2. And who is the smiling girl 
shown at a night-club with the 
handsome escort? 

3. Who, do you suppose, is 
Gilbert Roland's "big mo- 
ment" now? This is a hard 
one, because Roland has been 
changing sweeties regularly of 
late. 



against her director-husband, 
King Vidor? 

7. The wife of what movie hero 
has gone to Palm Springs to 
await the stork? 

8. Why did the divorce rumors 
circulated about Irene Dunne 
during her recent visit to New 
York make her angry? 

9. How come the Janet Gay- 
nor-Charles Farrell team has 
been split up? 



for 1932? And who received 
the male award? 

13. What does Stanley Smith 
do when he is not working on 
the screen? 

14. Another Hollywood couple 
have kissed and made up. Do 
you know their names? 

15. With whom did Hollywood 
romance rumors connect Tal- 
lulah Bankhead before she left 
the film city? 



4. Do you know the blonde 16. What motion picture 

screen actress who made up ^^' ^an you name the screen player was elevated to stardom 

with her husband and withdrew beauty who is rumored secretly ^^ ^^^ strength of her very first 

hpr rlivnrrP Q„it? married to a young director? picture? 



her divorce suitl 

5. Who is the movie actor who 
filed a bankruptcy petition a 
few weeks after it became 
known that he had married a 
baroness? 

6.. Whom did Eleanor Board- 
man name as co-respondent 
when she filed suit for divorce 



11, Do you know the blonde 
film actress who is still a victim 
of some ailment she contracted 
while filrning a jungle picture 
about two years ago? 

12. Who received the Motion 
Picture Academy's award for 
the best female performance 



17. The popular Wynne Gib- 
son is being courted by two 
boy-friends. Do you know who 
they are? 

18. Who is the screen come- 
dienne who expects to become 
a mother shortly? 

{A nswers to tiiese Questions on page go) 



Hollywood Knows The Answers To These Questions— Z>Q You ? 



WHEN THE LION ROARS, 
THE WHOLE WORLD LISTENS! 



IniQQiri^* You're going to~Rave ap^ek at the "inside production plans 
of the Metro -Goldwyn- Mayer Studios. It's fun to look ahead to see 
what's coming from the producers of "Grand Hotel", "Smilin' Through", 
"Red Dust", "Strange Interlude", "Prosperity","Flesh" and all those other 
fme screen entertainments. Here is just a rough idea of M-G-M pictures 
f interest now being shown, soon to come and others planned for pro- 
duction. Listen to the Lion ROAR! What a treat for the months to come! 




NORMA SHEARER comes "Smilin' 
Through" with a new hit "La Tendresse" 
from the thrilling French play. 

JOAN CRAWFORD in an exciting ro- 
mance written especially for her by 
William Faulkner, noted author. 

MARIE DRESSLER (beloved start) with 
WALLACE BEERY in "Tugboat Annie." 

MARION DAVIES has the role of her 
career in "Peg o' My Heort." 

"CLEAR ALL WIRES" the Broadway 
stage hit has been captured by M-G-MI 

HELEN HAYES, winner of the year's 
highest film award, will soon appear in 
"The White Sister." Right after her new 
success "Son - Daughter" in which she 
CO stars with RAMON NOVARRO. 

RAMON NOVARRO will also be seen 
iin the romance "Man on the Nile." 

IRENE DUNN and PHILLIPS HOLMES 

fare thrilling audiences with "The Lady." 

"RASPUTIN" has brought new fame to 
the Barrymores, Ethel, John and Lionel. 



JOHN BARRYMORE wins further film 
triumphs with the stage success "Reunion 
in Vienna." 

LIONEL BARRYMORE has had a special 
story written for him, title soon to be 
announced. 

"MEN MUST FIGHT" is another Broad- 
way stage hit on the M-G-M list. 

JEAN HARLOW'S next film after "Red 
Dust" is an original drama "Night Club 
Lady." 

JOHNNY WEISSMULLER comes in his 
long awaited sequel "Tarzan and his 
Mate." 

"HAPPILY UNMARRIED" is a delightful 
M-G-M original story soon to come to 
the screen. 

JIMMY DURANTE and BUSTER KEATON 
and JACKIE COOPER. What o trio for 
"Buddies!" 

"PIGBOATS" is a picture not to be 
missed! Robert Montgomery . . . Jimmy 
Durante.. .Walter Huston. ..Madge Evans! 
Swell cost in a grand picture! 



Isn't it the truth? When the Lion ROARS you're sure of a happy hit! 

METRO-GOLDWYN-MAYER 






What the STARS are Doing 

AND WHERE THEY MAY BE FOUND 
By MARION MARTONE 






Andre, GwlH — recently completed Secrets of the 
■ French Police — Radio Pictures Studios, 780 
Gower St., Hollywood, Cal. 

Arlen, Richard — playing in Lives of a Bengal 
Lancer — Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 

Arliss, George — playing in The Ring's Vacation — 
Warner Bros. Studios, Burbank, Cal. 

Armstrong, Robert — recently completed King 
Kong — Radio Pictures Studios, 780 Gower St., 
Hollywood, Cal. 

Astor, Mary — latest release Red Dust — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 

AtwlU, Lionel — playing in The Lady — Metro- 
Goldwyn-Mayer Studios, Culver City, 
Cal. 

Ayres, Lew — playing in Out On 
Parole — Universal Studios, Universal 
City, Cal. 



Bankhead, Tallulah — latest release 
Faithless — Metro-Goldwyn-Mayer 
Studios. Culver City, Cal. 

Barrymore, Ethel — latest release 
Rasputin and the Empress — Metro-Gold- 
wyn-Mayer Studios, Culver City, Cal. 

Barrymore, John — latest release Ras- 
putin and the Empress — Metro-Goldwyn- 
Mayer Studios, Culver City, Cal. 

Barrymore, Lionel — latest release 
Rasputin and the Empress — Metro- 
Goldwyn-Mayer Studios, Culver City, 
Cal. 

Barthelmess, Richard — playing in 
Grand Central Airport — First National 
Studios, Burbank, Cal. 

Baxter, Warner — playing in Danger- 
ously Yours — Fox Studios, 1401 N. 
Western Ave.. Hollywood, Cal. 

Beery, Wallace — recently completed 
Flesh — Metro-Goldwyn-Mayer Studios, 
Culver City, Cal. 

Bellamy, Ralph — playing in Desti- 
nation Unknown — Universal Studios, 
Universal City, Cal. 

Bennett, Constance — playing in Our 
Betters — Radio Pictures Studios, 780 
Gower St., Hollywood. Cal. 

Bennett, Joan — recently completed 
Me and My Gal— Fox Studios, 1401 N. 
Western Ave., Hollywood, Cal. 

Bickford, Charles — recently complet- 
ed ^'anity Street — Columbia Pictures 
Studios. 1438 Gower St.. Hollywood, Cal. 

Birell, Tala — recently completed Na- 
gana — Universal Studios. Universal City, 
Cal. 

Blondell, Joan — playing in Broadway 
Bad— Fox Studios. 1401 N. Western Ave.. 
Hollywood, Cal. 

Boles, John — playing in Child of 
Manhattan — Columbia Pictures Studios, 
1438 Gower St., Hollywood, Cal. 

Bow, Clara — latest release Savage — • 
Fox Studios, 1401 N. Western Ave., 
Hollywood. Cal. 

Brendel, El — playing in Hot Pepper — 
Fox Studios, 1401 N. Western Ave., 
Hollywood. Cal. 

Brent, George — recently completed 
42nd Street — First National Studios, 
Burbank, Cal. 

Brian, Mary — playing in Hard to 
Handle — Warner Bros. Studios, Bur- 
bank, Cal. 

Brook, Clive — playing in Lives of a 
Bengal Lancer — Paramount Studios, 5451 
Marathon St., Hollywood, Cal. 

Brown, Joe E. — latest release You Said a Mouth- 
ful — First National Studios. Burbank, Cal. 

Brown, Tom — playing in Destination Unknown — 
Universal Studios, Universal City, Cal. 



Cabot, Bruce — recently completed King Kong — 
Radio Pictures Studios, 780 Gower St., Holly- 
wood, Cal. 

I Cagney, James — recently completed Hard to 
Handle — Warner Bros. Studios, Burbank, Cal. 

Carroll, Nancy — playing in Under-Cover Man — 
Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 

Chandler, Janet — playing in Born to Fight — Fox 
Studios, 1401 N. Western Ave., Hollywood, Cal. 

Chatterton, Ruth — recently completed Frisco 
Jenny — First National Studios, Burbank, Cal. 

Clarke, Mae — recently completed Acquitted — 
Columbia Pictures Studios, 1438 Gower St., Holly- 
wood, Cal. 



Colbert, Claudette — latest release The Sign of 
the Cross — Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 

Colman, Ronald — playing in The Masquerader — 
United Artists Studios, 1041 N. Formosa Ave., 
Hollywood, Cal. 

Cooper, Gary — playing in Lives of a Bengal Lancer 
— Paramount Studios, 5451 Marathon St., Holly- 
wood. Cal. 

Cortez, Ricardo — recently completed Flesh — 
Metro-Goldwyn-Mayer Studios. Culver City, Cal. 

Crawford, Joan — latest release Rain — United .Art- 
ists Studios, 1041 N. Formosa Ave., Hollywood, Cal. 




You won't find Helen Twelvetrees listed in these col- 
umns because she has been absent from the screen for 
several months. The picture above tells vifhat she has 
been doing. Her baby was born October 26. Helen is 
Mrs. Frank Woody oflF the screen 



Damita, Lili — latest release The Match King — 
First National Studios, Burbank, Cal. 

Daniels, Bebe — recently completed 42nd Street — 
First National Studios. Burbank. Cal. 

Davies, Marion — latest release Blondie of the 
Follies — Metro-Goldwyn-Mayer Studios, Culver City, 
Cal. 

Dietrich, Marlene — playing in Deep Night — 
Paramount Studios, 5451 Marathon St., Holly- 
wood. Cal. 

Dinehart, Allan — recently completed Acquitted— 
Columbia Pictures Studios. 1438 Gower St., Holly- 
wood, Cal. 

Dix, Richard — latest release The Conquerors — ■ 
Radio Pictures Studios, 780 Gower St., Hollywood, 
Cal. 

Dodd, Claire — recently completed Hard to Handle 
— Warner Bros. Studios. Burbank, Cal. 

Dorsay, Fifi — playing in The Sucker — First Na- 
tional Studios. Burbank, Cal. 

Douglas, Melvyn — recently completed Nagano — ■ 
Universal Studios, Universal City, Cal. 

Dressier, Marie — playing in Tugboat Annie — ■ 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



Dunn, James — playing in Handle With Care — 
Fox .Studios. 1401 N. Western Ave., Hollywood. Cal. 

Dunne, Irene — playing in The Lady — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 

Durante, Jimmy — playing in Pig Boats — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 



Toilers, Sally — playing in Grand Central Airport — 
•*-' First National Studios. Burbank. Cal. 

Erwin, Stuart — playing in The Face In the Sky — 
Fox Studios. 1401 N. Western Ave., Hollywood. Cal. 

Evans, Madge — playing in Fast Life — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 



'p'airbanks, Douglas, Jr. — playing in 
■*■ The Sticker — First National Studios. 
Burbank, Cal. 

Farrell, Charles — latest release Tess 
of the Storm Country — Fox Studios, 1401 
N. Western Ave.. Hollywood. Cal. 

Farrell, Glenda — playing in The Blue 
Moon Murder Case — Warner Bros. Stu- 
dios, Burbank. Cal. 

Foster, Norman — playing in Pleasure 
Cruise — Fox Studios, 1401 N. Western 
Ave.. Hollywood, Cal. 

Francis, Kay — playing in The Key- 
hole — First National Studios, Bur- 
bank. Cal. 



/^able, Clark — recently completed No 
^J Man of Her Own — Paramount 
Studios, 5451 Marathon St., Hollywood, 
Cal. 

Gaynor, Janet — playing in Slate Fair 
^Fox Studios, 1401 N. Western Ave., 
Hollywood, Cal. 

Gilbert, John — latest release Down- 
stairs — Metro-Goldwyn-Mayer Studios, 
Culver City, Cal. 

Gordon, Gavin — recently completed 
Hard to Handle — Warner Bros. Studios, 
Burbank. Cal. 

Grant, Gary — playing in Madame 
Butterfly — Paramount Studios, 5451 Ma- 
rathon St., Hollywood, Cal. 



TLTaines, William — playing in Fast Life 
■*■■*■ • — Metro-Goldwyn-Mayer Studios, 
Culver City, Cal. 

Hamilton, Neil — playing in Acquitted 
— Columbia Pictures Studios, 1438 
Gower St., Hollywood, Cal. 

Harding, Ann — recently completed 
The Animal Kingdom — Radio Pictures 
Studios. 780 Gower St., Hollywood. Cal. 
Harlow, Jean — latest release Red 
Dust — Metro-Goldwyn-Mayer Studios, 
Culver City. Cal. 

Hatton, Raymond — playing in Up- 
tou<n New York — Tiffany Studios, 4516 
Sunset Blvd., Hollywood, Cal. 

Hayes, Helen — playing in Son Daugh- 
ter — Metro-Goldwyn-Mayer Studios, Cul- 
ver City, Cal. 

Hepburn, Katharine — playing in 
Christopher Strong — Radio Pictures Stu- 
dios. 780 Gower St., Hollywood, Cal. 

Hersholt, Jean — recently completed 
Flesh — Metro-Goldwyn-Mayer Studios, 
Culver City, Cal. 

Hopkins, Miriam — latest release 
Trouble in Paradise — Paramount Stu- 
dios, 5451 Marathon St., Hollywood, Cal. 
Howard, Leslie — playing in Secrets — United Art- 
ists Studios, 1041 N. Formosa Ave.. Hollywood, Cal. 
Huston, Walter — playing in Pig Boats — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. "* 

Hyams, Leila — recently completed Island of Lost 
Souls — Paramount Studios, 5451 Marathon St.. 
Hollywood, Cal. 

* * * 

Jolson, Al — recently completed The New Yorker — 
United Artists Studios, 1041 N. Formosa Ave., 
Hollywood, Cal. 

Jones, Buck — playing in The California Trail — 
Columbia Pictures Studios, 1438 Gower St., Holly- 
wood. Cal. 

Judge, Arline — playing in Lucky Devils — Radio 
Pictures Studios, 780 Gower St., Hollywood, Cal. 



Karloff, Boris — recently completed The Mummy — 
Universal Studios, Universal City, Cal. 
Kennedy, Merna — recently completed Laughter 
In Hell — Universal Studios, Universal City, Cal. 
(Continued on page 95) 



♦ Letters to your favorites may be sent to the studio addresses given here ♦ 



The Eyes of Men •••The Eyes of Women 
Judge your Loveliness every day 




You may be sprightly and sixteen; fair and 
forty; or serious and sixty. Yet you can- 
not deny that every pair of eyes that looks 
at you commends your beauty or regrets 
its lack. For life is a Beauty Contest for 
every woman. And she whose skin is soft 
and fresh has a wonderful advantage. 

THE SOAP OF BEAUTIFUL WOMEN 

To possess a lovely, clear complexion take 
infinite care in choosing your beauty soap ! 



Use gentle, creamy-white Camay, the 
Soap of Beautiful Women! Its lather is 
rich as cream • • • luxuriant in any kind 
of water. It is made of pure, delicate oils, 
safe for the most delicate feminine skin. 

NEW LOW PRICES 

Never in all your lifetime have you known 
a soap of such exquisite quality to cost so 
little! The price of Camay is now so low 
you will want to buy a dozen cakes today! 



You can hardly glance outof the win- 
dow, much less walk in town but 
that some inquiring eye searches you 
and your skin. This is the Beauty 
Contest of life in which all women 
must compete. Not even a queen 
escapes it. And a modest country' girl 
can win it • • • if her skin is lovely. 




• Make a rich lather with Camay, a soft 
cloth and warm water, inassaging'it'mto 
your skin. Rinse with cold water. Then 
note how soft and fresh your skin feels. 




• This is creamy -white Camay, the 
famous beauty soap that thousands of 
lovely women use for their complexions, 
for their hands and in their bath. 

Copr. 1933. Procter & Gamble Co. 

CAMAY 



THE SOAP OF BEAUTIFUL WOMEN 




f you can make 
him say: 

(laiuv e^red^ 



?f 



me. <w . 




. . . then you will have 
achieved that glorious 
state in which each heart 
throb is a prediction of 
greater happiness to come. 

It's easy to make your eyes say those won- 
derful things that only eyes can say. 

Frame your eyes with dark, long-appearing, 
luxuriant lashes and this new kind of en- 
chantment will instantly become yours. 

JMillions of women know that the New 
Maybelline Eyelash Darkener is the one 
thoroughly satisfactory and safe preparation 
to use. Not a dye. Perfectly harmless. Tear- 
proof, non-smarting, easy to apply, and actu- 
ally stimulating to lash growth. 

Insist upon genuine New Maybellme, to 
makes sure of obtaining a mascara that com- 
bines all these advantages. Black or Brown, 
75c at toilet goods counters everywhere. 



EYELASH DARKENER 




LETTERS 

FROM OUR 

READERS 



$20.00 Letter 
Muni Does Himself Proud 

DOUGLASTON, N. Y.— "I Am a 
Fugitive from a Chain Gang" — a 
great story by Robert E. Burns. Re- 
gardless of the merits or demerits of his 
own crime, Burns' account of his per- 
sonal experiences in a supposedly mod- 
ern prison system should put to shame 
the overlords of that system. 

The film version of Burns' great story 
which is the story of his own life and of 
the days he spent in a chain gang, 
brings to us again the great dramatic 
actor, Paul Muni, in another screen 
masterpiece. Whether you did or did 
not see his excellent portrayal of "Scar- 
face," take the advice of a dyed-in-the- 
wool movie fan and don't miss "I Am 
a Fugiti\e from a Chain Gang." It is 
the picture of a lifetime. 

In this picture's greatest scene, when 
James Allen (Muni) learns that his par- 
don has been denied, the agony and 
despair in his face was so real it was 
amazing. The horror of the whole thing 
was written in every line on his face. 
I doubt whether there is another 
actor on stage or screen who could 
have made that scene as realistic as 
Muni did. 

However, there is only one very small 
fault that I have to find with the pic- 
ture as a whole, but even that shouldn't 
keep anyone from going to see it. I 
refer to the scenes in which the pris- 
oners were swinging their picks in time 
with their tunes — yes, the prisoners 
actually sang in chorus fashion when 
they were working — and it smacked 
too much of a musical revue. 

Clem. Varick. 



.00 Letter 

"Smilin' Through" 
Uplifting 

ST. LOUIS, MO.— If it is the de- 
mand for realism which has brought 
forth so many pictures starring the 
striped shirted gangster and his shady 
lady, for heaven's sake let's get away 
from that demand. To young people 
these pictures have been exciting and 
thrilling, yet they have certainly left 
nothing of value in their minds and 
hearts. I know, for I am one of them. 

I went to see "Smilin' Through," 
knowing nothing of the type of produc- 
tion that it was. I came out saddened for 
the moment, but tremendously up- 



lifted in spirit. The beauty, the sim- 
plicity, and the feeling expressed in that 
film so held me that I have now seen it 
three times and intend to go again. 
Would that the many stars of the 
screen could be as lovely and as won- 
derful as were Miss Shearer and her 
"companions in triumph," instead of 
leering evilly from a speeding car over 
a chattering machine gun ! May Norma 
Shearer's ensuing pictures be ever as 
beautiful, as wonderful, and as uplift- 
ing as "Smilin' Through," for in them 
Life and the greatest heights of screen 
attainments will be reached. In re- 
turn, the stars (who are now ever so 
much more human since I have seen 
this film) must inevitably find a more 
eager, sympathetic and responsive 
audience. Dick Horner. 

$5.00 Letter 

Aline Stole the Picture 

DENN'ER, COLO.— Every now and 
then someone cast in a supporting role 
steps forward and "steals the show." 
This was certainly exemplified in "Once 
in a Lifetime," the person doing the 
purloining being Aline MacMahon. 
No discredit to any of the other actors 
is intended in making this statement 
as each one was well cast. 

The show is a most unusual and en- 
tertaining travesty on motion picture 
production and Aline MacMahon, with 
her striking personality and poise, evi- 
denced talent peculiarly effective in 
that type of comedy. Her piquant wit, 
leavened with touches of loyalty and 
tenderness, raised her performance to 
great heights — something unusual in a 
comedy. L. N. Rudd. 

Hepburn Is a "Natural" 

SAN JOSE, CAL.— Recently I saw 
one of those performances that are 
stamped with that rare dramatic genius 
which snatches you out of your usual 
theatre lethargy and not only flings 
you to heights of rabid emotional ex- 
citement, but keeps you there for 
weeks, and remains in your conscious- 
ness as one of the most glorious pieces 
of acting you have ever witnessed! 

She is gloriously young, vital, and 
lovely with the sort of loveliness that 
only character can create. But few 
times have I seen emotion so brilliantly 
restrained as to be the refined human 
emotion one finds in women of real 
character. Need I say it is the mag- 
nificent Katharine Hepburn? F.S. 



Write 'Em And Reap A Money Prize 

Each Month MOTION PICTURE gives Twenty, Ten and Five Dollar Prizes for the 
Three Best Letters of the month. Don't overlook the chance of becoming a winner. All 
you need to do is pick up your pen or go to work on your typewriter and tell us and the 
movie world what's on your mind concerning the movies and the stars. If any two let- 
ters are considered of equal merit, the full amount of the prize will go to each writer. 
Try to keep within 200 words. No letter will be returned and we reserve the right to 
publish all or any part of a letter submitted. Sign your full name and address. We 
will use initials if requested. Address Letter Page, MOTION PICTURE, 1501 Broadway, 

New York City. 



10 



Movie Star Calendar 

Dating Them Up Through Past Events 

February, 1933 



By JOSE SCHORR 



SUN. 



MON. 



TUES. 



WED. 



THURS. 



FRI. 



SAT. 




John Barry- Joan Bennett's 

more born birthday is 

February 15 February 27 




Ronald Col- 
man born 
February 9 



1 



Kenneth 
MacKenna's 
bride, Kay 
Francis, does 
not kick him 
in sleep. They 
have twin 
beds. (1931) 



2 3 4 



NormaShear- 

ER likes this 
country. Files 
application for 
U. S. citizen- 
ship. (1931) 



Mrs. Vilma 
B A N K Y La 

RocQUE sails 
on honeymoon 
alone. Rod's 
boss won't let 
him leave his 
job. (1928) 



Natalie Tal- 
ma dge, says 
"yes" to Bus- 
ter K EATON, 

to make him 
stop waking 
her with tele- 
grams. (1921) 



Bill Pow- 
ell's friends 
complain he 
loves Carole 
Lombard so 
much, he 
has sworn off 
poker. (1932) 



6 



Constance 
Bennett eats 
club sandwich. 
Says: "I have 
no fear of fat. 
My back is 
much too 
bony." (1930) 



Heartbreak ! 
Burglars steal 
$1,000 worth 
of liquor from 
Lionel Bar- 
rymore, and 
Prohibition so 
new! (1920) 



Shanghai po- 
lice arrest 
Ronald Col- 
man for being 
out too late 
(11) at night. 
(1932) 



9 10 11 



A D O L P H E 

M E N jou is 

working over- 
time to get a- 
way for a hon- 
eymoon with 
Kathryn Car- 
ver, (1928) 



John and 
Dolores Bar- 
RYMORE are 
original. Go 
to Ecuador on 
their honey- 
moon to hunt 
lizards. (1929) 



Beverly Hills 
stars are fed 
up. Demand 
that Mayor 
Will Rogers 
give up either 
his travels or 
his job. (1927) 



12 13 14 15 16 17 



The John (Ina 
Claire) Gil- 
berts say 
their "perfect 
experiment" 
of separate 
apartments is 
working. (1931) 




Court orders 
Ray Goetz 
not to beat up 
his former 
wife, Irene 

B O R D O N I . 

(1930) 



The John (Ina 
Claire) Gil- 
berts' "per- 
fect" separate 
apartment 
plan flops. 
Divorce 
ahead. (1931) 



Wallace 

Beery gets job 
as comedian. 
Takes his 
bride, Gloria 

SWANSON, to 

Hollywood. 
(1916) 



LuPE Velez 

promises to be 
Gary Coop- 
er's bride. 
Within a year 
he will be 
in Africa to 
forget. (1929) 



Mary Pick- 
FORD says : 
"Douglas and 
I have never 
beenapart.Sep- 
aration is dan- 
g e r o u s . ' ' 
(1924) 



Ginger Rog- 
ers loses her 
key. Sits on 
doorstep with 
OzziE Nelson 
tills A.M. 
waiting to 
get in. (1931) 



E.xtra! Clara 
Bow leaves for 
the coast with- 
out kissing fi- 
ance, Harry 
R I c H M A n , 
goodby. (1930) 



Prince Louis 
Ferdinand 
begs LiLi 
Damita to 
marry him but 
she "does not 
care for him." 



Helen 

Twelvetrees 

discovers that 
her bride- 
groom drinks 
but she thinks 
she can reform 
him. (1927) 



Faithful John 
Farrow is vis- 
iting his strick- 
en fiancee, 
Lila Lee, at 
the Prescott, 
Ariz, sanitari- 
um. (1931) 



Raquel (Tor- 
res) von Os- 
TERMAN is an 
usherette in 
Chinese The- 
atre, but she 
has hopes. 
(1927) 




Swedish royal 
family orders 
Prince Sigurd 
not to become 
too friendly 
with Greta 
Garbo, screen 
siren. (1929) 



20 21 22 23 24 25 



C H E VA L I E R 

leads earned 
incomes of 
France. Makes 
$533 an hour 
to Pres. Dou- 
mergue's $14. 
(1931) 



26 27 



Three promis- 
ing blondes in 
new Follies — 

LiLYAN TaSH- 

MAN, Marion 
Davies and 
Peggy Joyce. 

(1918) 



The U. S. 
Army turns 
down Fatty 
Arbuckle. 

Says he's too 
fat. (1918) 




Jack Demp- 

s e Y, who is 
marrying Es- 
telle Tay- 
lor, wants 
a little girl 
with big eyes. 
(1925) 




Stuart Erwin's 
birthday is 
February 14 



Mary Brian's 
birthday is 
February 17 



Joe E. Brown's 
birthday is 
February 11 



Helen Jerome 
Eddy born 
February 25 



11 



Motion Picture presents the greatest show on earth- 
the intimate goings-on of the stars at work and play 



B y 
Frank Morley 




HOLLYWOOD, though given a bit 
(shall we put it mildly?) to balminess, 
has a definite regard for the upholders of 
Logic and Reason. This has much to do 
with the high regard enjoyed locally by one 
Matthew Beard, better known as "Stymie," 
the young gentleman of color in the Our 
Gang comedies, and no lover of seals. 

In order to get an eflfective shot of one of 
the slippery animals, the director had an 
assistant dangle a fish made of glue just 
outside the camera lines. The string sud- 
denly broke. The seal made a quick snap 
for the glue-fish and swallowed it. The 
gurgling sounds, coupled with the wild 
contortions of the seal, panicked the kids. 

Stymie led the mad dash off the sound 
stage. When the director tried to coax him 
back to work, he argued soundl>-: "If you 
all ain't afraid ob de seal, what fo' you all 
.run away, too?" 

BUT people of Stymie's sane judg- 
ment are pretty few hereabouts. More 
typical actions are such as took place at the 
party which John P. Medbury, the funny 
feller, gave for Burns and Allen. Though 
some distance from the holidays, a large 
Christmas tree adorned the living room, 
presided over by a Santa Claus, who sulked 
and refused to talk to anyone. Then, there 
was a butler who sat down with the guests, 
one of the Marx Brothers with his 70-year- 
old son, and a secret microphone in one of 
the bedrooms that gossiped mightily 
through a loud speaker. All in all, a nice 
homey evening! 

THE secretary of a new golf club no 
doubt intended to instill the same feel- 
ing of comfort in new member Edgar 
Kennedy, the comedian. "Now Ed," he 
advised heartily, "just mix with the mem- 
bers, introduce yourself, shake hands, tell 
'em what your business is — and all that. 



You shore ketch a lot o' alkali ridin' herd 
an' most of it kinda settles on the Stetson. 
Which explains Tom Mix's hanging four- 
teen out to dry. The cowboy star has just 
cleaned his hats up a bit in readiness for a 
busy season in the saddle 



\\'e patronize each other, you know." 

So Ed started on his round of introduc- 
tions. "My name's Kennedy. I'm an 
actor," he told the first fellow. 

The man looked at him. "My name's 
Smith. I'm a mortician." 

BUT our favorite foolish fellow re- 
mains Snoz Durante. Hearing that 
Tallulah Bankhead plays a portable phono- 
graph at the dentist's to drown out the 
grinding noise, Jimmy remarked: "Too bad 
if the dentist happens to be a former snare 
drummer and starts keeping time!" 

JIMMY is sunburned these days — and 
sore. He went happily to Honolulu 
with the "Pig Boats" troupe, with visions 
of comely limbs peeping from grass skirts. 
And was he chagrined when he found the 
Hula girls dressed in the same kind of 
slacks as are sported on Malibu Beach! 

ANOTHER recently returned traveler 
L. is Douglas Fairbanks, Sr., who turned 
right around and traveled out again. Be- 
tween trips, however, he paused long enough 



on the United Artists lot to watch Lewis 
Milestone passing by, followed by a line of 
stooges. "There goes Milly with a string 
of empties," flipped Junior's pa. 

GOOD-NATURED Milestone is the 
prey of job-hunters. A rather meek 
one corned an acquaintance on his lot with 
this strange plea: "Like a pal, go in and 
tell MilK- I'm the best character actor on 
Broadway. If he says anything, I'll back 
you up." 

MILESTONE likes his jokes— and 
like all jokesters occasionally gets 
caught by a kick-back. Last year he and 
several others stuck William Gargan for a 
S120 speakeasy lunch check in New York. 
Gargan vowed revenge, but his chance did 
not come until a short retake required his 
presence at Catalina after "Rain" was 
finished. He told Milestone, who directed, 
that he would "jo, but under the condition 
that all his exi enses would be paid. Milly 
agreed — and vvhen he got the bill for Gar- 
gan's sta\', he found that the gleeful Irish- 
man had thrown a big dinner party — at the 
director's expense — for the cast of another 
company on location at the Island! 

HE'S a broth of a lad, that Gargan. 
Usually amiable, he has a great dis- 
like for the records of a certain crooner. 
This aversion giew out of Miss Crawford's 
practice, during the making of "Rain," of 
using the dulcet tones of the famous crooner 
to help her emote. She had a man on the 
set who did nothing but play one record 
after another. ^ 

"One scene we had to remake seventeen 
times," Bill says, "and all the time that 
guy kept playing one piece over and over. 
At last Miss Crawford had to go and freshen 
her make-up — and he kept right on playing 
{Continued on page gj) 



12 




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glance at her face— and see her dingy- 
looking teeth. Are your teeth bright? 
Kve your gums firm? 

If your gums bleed easily— if you 
have ' 'pink tooth brush' ' — the sound- 
ness of your gums, the brightness of 
your teeth, and the attractiveness of 
your smile are all in danger! 

For "pink tooth brush" not only 



IPANA 



may lead to serious gum troubles — 
to gingivitis, Vincent's disease, and 
pyorrhea— but may be a threat to the 
polish of your teeth. 

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Defeat "Pink Tooth Brush" 

Keep your gums firm and healthy— 
and your teeth clean and bright with 
Ipana and massage. 

Restore to your gums the stimula- 
tion they need, and of which they 



are robbed by the soft, modern food 
that gives them so little natural work. 
Each time you clean your teeth with 
Ipana, rub a little more Ipana directly 
on your gums, massaging gently with 
your finger or the tooth brush. 

Start it tomorrow. Buy a full-size 
tube. Follow the Ipana method and 
your teeth will shine brighter, your 
gums will be firmer than they've been 
since you were a child . . . "Pink 
Tooth Brush" will depart. 




BRISTOL-MYERS CO., Dept. HH-2 3 
^^^^^^^^ 73 West Street, New York, N. Y. 

C=> '"^T^ <-s%0 ""^lIBRI^^K Kindly send me a trial tube of IPANA TOOTH 

O 5 .J^^ \. , r-^ il^mjKi^^ FASTE. Enclosed is a three-cent Stamp to cover partly 

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^ 'TP^^^___..,^--'S!^St^^ _- Street. 

gafiiSI'^T...^ , _MaaaMHi^HB City State. 

A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury 

15 



Ho I ly wood Elects 

Helen Hayes 

and 

Fredric March 

to the Hall of Fame 





In "The Sin of Madelon Claudet," Helen Hayes (up- 
per right) changed from a lovely young Brittany peas- 
ant into a haggard, sick, old woman of Paris. In "Dr. 
Jekyll and Mr. Hyde," Fredric March (right) was first 
the handsome, idealistic Dr. Jekyll and then the hide- 
ous, animal-like Mr. Hyde. The miracles of make-up 
helped both Helen and Fredric win the awards 



WHEN the Academy of Motion 
Picture Arts and Sciences ac- 
claimed Helen Hayes the best actress 
of the 1Q31-1Q32 season, Hollywood 
was just adding its praise to Broad- 
way's. On the stage ever since she was 
si.x, she has risen to such heights that 
no play in which she stars ever fails. 

The fact that she won the award for 
her performance in "The Sin of Made- 
lon Claudet' is a bit unusual, for be- 
fore playing that role, Helen had 
always played young girls — some 
tragic, some amusing, all romantic. 
But she made her screen debut in a 
mother role and, in the course of the 
action, grew old and haggard — and 
was real. The scenario was written by 
her playwright-husband, Charles Mac- 
.\rthur. They have one daughter, 
Mary, aged four. Now making "The 
Son-Daughter'' (playing a Chinese 
girl), Helen will not return to the stage 
"for at least a year." 

Fredric March was hailed as the 
best actor of the past season for his 
dual role in "Dr. Jekyll and Mr. 
Hyde " — in which he originated a 
brand-new conception of Mr. Hyde — • 
suggesting primitive, bestial man. His 
make-up so contorted his face that he 
suffered almost intolerable pain. 

Unlike Helen, he did not grow up on 
the stage, but turned actor after first 
trying banking. Eventually, he landed 
in Los .\ngeles in a road show of "The 
Royal Family'' and was ''discovered" 
by the movies. That was in 1928, 
when the movies were just learning to 
talk, so he got in on the ground floor. 
He has risen fast since his first big 
chances came along in "Laughter" 
and "The Royal Family of Broad- 
way." His most recent notable roles 
have been in "Smilin' Through" and 
"The Sign of the Cross. " He is married 
to Florence Eldridge, well-known stage 
actress, and they have just adopted 
a baby girl, Penelope. He is now 
making "Lives of a Bengal Lancer." 



16 



Joan Crawford 

No, that Isn't a big jar of Christmas candy 
that Joan has her hand on. Joan hasn't 
had any sweets since she abandoned her 
fannous diet during "Rain" to give Sadie 
Thompson a bit more bulk. She Is herself 
again now — with a new gown just her size, 
boasting a "necklace" of cocq feathers — 
and getting ready for her new picture. 
Wonder why she hasn't made more pic- 
tures while Garbo has been away? 




MAM-M-MY! How 
Ruey Keeler 
Can Dance! 




Ruby used to be one of the gems 
of the Follies, but when she mar- 
ried Al Jolson four years ago she 
deliberately sprained her ankle so 
that she could give up her dancing 
and be just the wife of the famous 
"mamnny"-singer. They still ore hop- 
)Ily married, thank you — but time 
angs heavily In Hollywood If you 
haven't anything to do, so Al en- 
couraged her to accept a big offer 
from his old friends, the Warners. 
And these two portraits give you a 
pretty good Idea of the beauty and 
the glamour of the dancing girl who 
starts her screen career as a fea- 
tured player In "42nd Street" 



20 



7 



A 



m 



id. 



C. S. Bail 



KUTE, 

Kittenish 
and kuddlesome 



Here are two reasons why Tired Busi- 
ness Men — not to mention the college 
boys — now go to the movies. And 
it's too bod the producers don't real- 
ize it and give the little girls bigger 
chances. Mary Carlisle (above),, for 
example, can act just that poutishly 
peeved when a photographer pops in 
before she finishes putting on her 
pretty furs — and Joan Marsh (left) 
can flirt even when her hair gets in 
her way. They're Both blonde, both 
young, both clever and both playful. 
What more could any connoisseur 
ask? Not much, certainly, if he saw 
Mary in "Her Mad Night" or Joan 
in "Speed Demon"! 



21 




Preston Duncan 



After a glance af the deep mahogany of Dave's face and arnns, 
there's no doubt about it — he certainly has found his place in 
the sun. One of the few young heroes with the courage to be his 
own boss and have no studio ties, he is in demand at all the 
studios. And after facing a man who rose from the tomb in "The 
Mummy," he is prepared for anything — even "The Death Kiss" 

22 



DAVID MANNERS 







Bachrach 



CONSTANCE BENNETT 



Pardon the puzzled look — but you'd be puzzled, too, if you 
were In Connie's place. Think of the size of the income tax 
she has to figure out! And another problem that bothers her 
is how to stop those blessed event rumors, which started when 
she was so real in "Rockabye" and then planned a long holi- 
day abroad. Before she goes, she's making "Our Betters" 

23 



Warner seems +o be 
the one and only male 
star who can wear a 
high hat and still have 
the girls raving about 
him. But the famous 
Fox m a n-a bout-town 
has folded up the top- 
per for a visit to War- 
ners to play the lead 
in "42nd Street" — in 
which, believe it or 
not, he plays a hard- 
hearted dance direc- 
tor. (Does he look it 
above, or doesn't he?) 
It's about the heart- 
breaks behind the 
scenes of a big Broad- 
way revue — a sort of 
"Grand Hotel" of the 
Theatre 




WARNER BAXTER 
DOFFS HIS TOPPER 
FOR CHORUS GIRLS 



24 




Ray Jones 



GLORIA STUART 



Another "glorious Gloria" has appeared on the screen — and she's 
still so young that she has plenty of time to catch up with La 
Swonson. Besides being a born actress, she is one of the few 
natural blondes in the nnovies. She is having a quiet little duel 
with another newcomer, Tola Birell, to see which will be queen of 
Universal City. Her newest bid for the crown is "Laughter in Hell" 

25 




George E. Cannons 



Wifh a coy little jerk on her hot, as much as to say. Now what 
do you think of that?", Jeonette is setting off on a ho iday abroad, 
just when her old friend, Chevalier, is returning. And that mis- 
chievous twinkle in her eye can't mean a thing except that gay 
Paree will be the first stop. She may act there. Across the page 
you'll discover that she unburdened her mind before she lett 



26 



JEANEHE 

MACDONALD 



ore 




hties 



NoM 



for JeANETTE 

The golden-voiced Miss MacDonald gaily says she's tired of being the 
screen's leading lingerie model. She's going off to Europe for six months 
to play on the stage and screen abroad — and Chevalier will have to find 
a new leading lady. But there's method in her seeming madness: a 
chance to be what she wants to be — dramatic! 



?? 



By Nancy Pryor 



IT'S nice to be naughty on the screen up to a 
certain point, and then, according to Jeanette 
MacDonald (who ought to know) it gets in a 
girl's reddish hair! 

For a considerable time now, Jeanette has been 
playing the screen's snappiest lingerie heroines. 
In "The Love Parade" she started in a bathtub. 
In "One Hour With You," she was compara- 
tively clothed in a series of transparent negli- 
gees. In "Love Me Tonight" she had worked 
up to a flimsy nightgown. Even away from 
the roguish co-starring influence of Mau- 
rice ChevaUer (in the one songless comedy 
which she made at Fox, "Don't Bet on 
Women"), Jeanette maintained the step- 
in touch by pursuing Edmund Lowe in 
a very wispy bit of black lace. It's dar- 
ing . . . it's subtle . . . it's all in good fun 
. . . but it's too much. When lingerie begins 
to have a definite bearing on a girl's social life, 
then it is time to do something about it. And 
Jeanette intends to do that something. 

She says she can't walk into a department 
store that an ever-helpful floor man doesn't im- 
mediately head her in the direction of the 
Third Floor "undies." Instead of the pro- 
verbial request for autographs, fans write her 
for a photo "in your nightgown, please." 

But the chmax came the other day when 
Jeanette was asked to be the guest of honor 
in the lingerie department of a certain charitable in- 
stitution for one of their extra-special money-raising 
affairs. What's more, she was asked to bring along 
•samples of her own, personal hngerie to be used as a pat- 
tern and an "exhibit." 

They Wanted Lingerie, Not Music 

A LITTLE upset, but determined to help out in the 
name of Charity, the golden-voiced Miss Mac- 
Donald suggested that she sing a little song toward 
raising the shekels. No, the charity ladies assured 
her, they would prefer her to bring along a pair of 
"panties." They figured the pants would raise 
more money than the song! Darn clever, 
these charity workers . . . ! 

So along went Jeanette and took her laci- 
est thingumajigs, which were promptly 
put on exhibition. It was during the mid- 
dle of the afternoon, while the lovely 
MacDonald was busy seUing nightgowns 





for Charit\', that somebody suggested she "model" 
the garments! 

"But that wasn't all of that little aftair."' 
laughed the girl who wears 'em as nobody else 
does. "The next da}', a very poHte gentleman 
called here at the house with a neat little pack- 
age in his hand. 'INIiss ^MacDonald,' said he, 'I 
have been requested b\' the charity ladies to 
return your . . . er . . . bloomers!'" 

This sort of thing, added to the fact that 
she is really growing weary of her career in 
lingerie, has decided Jeanette on more 
wardrobe — or no more movie workee for 
a while. Really, she's quite firm about it. 
If you ask me, I say it's too bad, be- 
cause she has created a gay, frivolous 
place on the screen that is distinctly her 
own. Where certain elements have always 
regarded the undraped figure of the Misses 
Jean Harlow, Clara Bow, Alice White, et al, 
as sheer sex display, Jeanette's brand of de- 
collete has always passed in the category of 
the piquant. It's daring, and a little bit 
naughty, of course, but it's sex with a 
chuckle! Jeanette's innately "nice" per- 
sonality has always removed any vestige 
of the objectionably risque from even 
bathtub scenes. jMaybe it's because she 
usually sings in the tub! 

Has Gone "Far Enough" 

DON'T think my career of risque roles has 

really hurt," explained Jeanette, who was 

curled up in the sun-parlor of her Beverly home. 

"I just feel I have gone far enough in hngerie. I 

think I am becoming typed in underwear, just as 

other actresses complain that they are typed in 

sophisticated roles, or sob stories or corned}". Movie 

audiences, like every other kind of audience, demand 

a little variety to keep their interest whetted. Even 

such an interesting subject as lingerie can become 

monotonous when overdone. I'm sure that 

people must say about me, on the 

screen, 'Good gracious, is Jeanette 

MacDonald going to take off her 

clothes — again?' " 

It isn't difficult to discern 
that Jeanette's professional 
soul has begun to yearn for 
[Continued on page gf) 



27 




The Hollywood 
RIVOLITIES of 1932 

Laugh Out the Old Year, and Ring in the New — 



While Hollywood's Foibles Pass in Review 



Years may come, and years may go, but Hollywood 
amuses forever. And lest you forget the laugh parade that 
has taken place in the big movie town in this past Election 
and Leap Year, we review the events that even the natives, 
for the most part, will remember with amusement. Who 
knows? They might be a warning for the next twelve 
months. In any case, it's all in fun Let this be understood 
before we start, just so Hollywood will be sure to know a 
joke when it sees one. — Editor. 



WELL, there may be a depression and all this and 
that, and Presidents and stock markets and 
Prohibition and banks and blondes may fail — 
but the Frivolities, Follies and \'anities that 
bloom in the screen town, tra-la, keep right on a-bloomin'I 

It doesn't matter where we begin, fortunately. There is no 
more continuity to these frivolities than there is to the scripts 



that they did not do for some of the more recent ambitious 
productions. Over at Metro's place, for instance, they have 
been writing their scenarios "on the cuff," as 
the saying goes. The words for the Barry- 
more trio in "Rasputin," the Harlow-Gable 
combine in " Red Dust," " Kongo " and sev- 
eral others have been written in this extem- 
poraneous fashion, from day to day and from 
thought to thought. Charlie IMacArthur, 
doing the 
word-wash for 
" Rasputin," 
has covered 
his cuffs daily 




'Way over at 
the left, you see 
Rasputin Bar- 
rytnore, Czar- 
ina Barrymore 
and Prince 
Paul Barry- 

more waiting 
for their next 
lines; then Ralph Forbes. 
Ruth Chatterton and 
George Brent proving that 
three isn't a crowd; Josef 
von Sternberg being pre- 
sented with a bull in 
Mexico; Richard Barthel- 
mess still wearing short 
pants; and Lita Grey 
Chaplin leading Charlie's 
sons to the casting office 



28 



Who has been sure 
whether Garbo has 
been going or com- 
ing? Has even Gar- 
bo, herself? Per- 
haps, at the right, 
she's rushing (?) to 
get away from the 
Press for a rest in 
Majorca, which is a 
writers' colony. Be- 
low, you are re- 
minded of "Freaks" 




BY GLADYS HALL 

Illustration by Eldon Kelley 



for months. Some say as how he is subsidized by the laundries. 
Then there are the folks trying to do a Garbo on us. 
Though it's a mystery why anyone should want to — good 
business though it was for her. Janet Gaynor, so they tell, is 
sphinxing it and has gone into a Retirement, with "Nothing 
to Say — Please Go Away" written on the doormat. 

Doing a Garbo, Also? 

NORMA SHEARER, we are told, is doing likewise. But 
that we do not believe. Norma has never been guilty of 
a frivolity or folly yet, and why should she begin in the year 
1932? 

Ann Harding is likewise presumed to be Garboing. She 
Makes No Statements. She answers no 'phones. She goes 
about in a black wig, incognito, et cetera. And her new busi- 
ness manager is Garbo's old one. 

You may not find it in your hearts to blame Ann. For she 
has proved to the know-it-alls that 'twas folly to be too 
"wise" and refuse to believe the Harding-Bannister letters 
explaining their divorce. But there was an earlier folly — the 



folly of the way Ann and Harry broadcasted their marital bhss 
to the world, only to have it go the w&y of all filmfiesh. ^^'hen 
one builds a lovely legend, one should preserve it for posterity. 

Then there is the frivolity of all these just-/oo-chummy 
divorces. Greta Nissen and Weldon Heyburn, par example, 
in the midst of manipulating a divorce and recently seen at 
the Club New Yorker holding hands and acting That Way, the 
one about the other. 

Ruth Chatterton, Ralph Forbes and George Brent, just the 
best o' pals, two boys and a gal together with not a molecule 
of malice in the three of 'em. Aliriam Hopkins divorcing 
Austin Parker, then adopting a little boy, with Austin a con- 
stant caller to play "Daddy." 

The Adolphe Menjous returning from a "second honey- 
moon" to announce immediately that they were going to 
divorce. And Mrs. (Kathryn Carver) Menjou betaking her- 
self to the hospital to have a nervous breakdown as a pre- 
liminary, while Adolphe demonstrated that a husband also 
may Go Home to Mother. 

{Continued on page 76) 



29 



A 



C 



SK ^^LARK »jABLE 



G 




30 



J 



a Question 



SUPPOSE you were 
d 



intro 
duced to the great stars 
of the screen — what would 
you, personally, like to ask 
them? 

You have heard that 
Clark Gable, the most 
popular male star on the 
screen to-day, was once 
a telephone lineman 
and a worker in the oil 
fields; that he tried for 
six years to get into the 
movies; that he lives quietly 
in a seven-room Beverly Hills 
house with his second wife and 
her sons, preferring his pipe and 
work around his car to social 



Here, at 
last is your chance 
to find out from your screen 
favorites, themselves, the things 
that you have been wanting to 
know. Here is your chance to ask 
some of those interesting questions 
that interviewers have neglected to ask. 
As a beginning for this unusual se- 
ries, Motion Picture provides you 
with the opportunity to get in 
touch with the man of the hour, 



and then 

your query 



activities. 

But, perhaps, j'ou have wondered 
other things about him — what his step- 
sons call him, for example, or what he would 
like to be doing if he were not playing in pic- 
tures, or where he learned how to take a car apart, 
or what his favorite screen role has been, or who his 
friends are off the screen, or how he spends his week-ends. 
Little, inconsequential, human things that the interviewers have not 
thought to tell you about. 

The chances are that you will never meet Clark Gable or the other 
stars personally. But Motion Picture Mag.azixe will ask your ques- 
tions for you, if you will write them on the coupon across the bottom 
of the page and send them to our Holl>Tvood office. Be sure to write — 
or print — plainly. 



Clark Gable is loo busy be- 
ing dramatic andi romantic 
for the screen to uritc you 
a letter, hut our Inquir- 
ing Reporter will take 
your questions over to 
Metro - GoldiL'yn - Mayer 
and ask him to answer 
them. In the next is- 
sue of MoTiox Picture 
]M.4GAZIXE, you liill find 
his replies. 

Of course, these ques- 
tions must fall within the 
bounds of good taste and be 
such as you, yourself, would be 
willing to ask a stranger upon 
.. .. ^^^ - .. .^ - . first meeting him. Then there are, 

Clark Gable. Read about it — ^i^°> "^^^i^;. questions which, be- 

, cause of studio or business policy, 

I -pi cannot be answered — questions relating, 

for instance, to his opinions of fellow-play- 
ers, his salary, and kindred professional 
"secrets." 

You will read Clark's own replies to your own 
queries in the ^larch Motion Picture ^M.^g.azint;. .\11 
questions must be mailed to reach the Inquiring Reporter on or before 
January tenth. Remember this deadline. 

Next month, besides reading Clark Gable's answers to your inquiries, 
you will have an opportunity- to ask a famous woman star those ques- 
tions that you have always wanted to ask her. 

In providing you with th.\s free service, ISIotion Picture ;M.\g.\zine 
is the first to introduce its readers personally to the stars 1 



rush 

f 



inquiring reporter, 

% Motion Picture Magazine, 

1509 North Vine Street, Hollywood, California 

T)ear Sir: 

THE QUESTION I SHOULD LIKE TO ASK CLARK GABLE PERSONALLY IS THIS: 



This question is sent in by; 



Name_ 
Street_ 



City and State . 



31 



Have 




Life Movie Stars: 

Whether you realize it or not, their lips are what you remember them by — for Hps, more 
than any other feature, reveal character. Willy Eogany, the famous artist, can tell you the 
character secrets of the stars just by studying their lips. (He doesn't have to see the rest of 
their faces, or know who they are.) Read what he discovers in thelipsofGarbo, Joan Craw- 
ford, Marlene Dietrich, Clark Gable, Janet Gaynor, Ramon Novarro, Jean Harlow and 
John Barrymore, among others. Then get a mirror and see whose lips match YOURS! 

BY HELEN LOUISE WALKER 



WHAT does your closed mouth say? What do 
your lips betray about your inner self, about 
your character, about the sort of person you 
really are? The newest fad in Hollywood is 
lip-reading. It's a game — the most absorbing pastime at 
nearly every smart Hollywood party these days. The rest of 
the country is bound to take it up. 

The movie colony has run the gamut lately of palmists, 
phrenologists, crystal gazers, numerologists, 
astrologers and so on — all the mystic and 
pseudo-scientific people who will, for a siz- 
able fee, discuss with an actor that always- 
interesting subject, himself. But for all of 
those, you must have the services of an ex- 
pert. The fun of this newest game is that, 
after a little study and instruction, you can 
do the thing yourself. It's a little bit like 
palmistry, only more — er — intimate. 

Entering almost any gathering of picture 
people these days, you are likely to be given 
a piece of soft cleansing tissue and a large, 
extra-gooey lipstick. You are instructed to outline your 
mouth with the rouge (your ow)i mouth — not the one which, 
if you are a woman, you habitually fashion for yourself!), and 
then you take the tissue and blot your lips with it very, very 
carefully, to make as accurate an impression as possible. 
Cleansing tissue is the best thing to use because it is absorbent 

32 



The lips above are Norma 
Shearer's, which Willy Pogany, 
the artist, says "have been de- 
liberately falsified by their 
owner to hide a crisp and pene- 
trating intelligence, to give 
them a soft and clinging femi- 
ninity that is not completely 
natural. A mouth with charm 
and poise." He also says these 
lips denote "a woman who 
know^s her mind" 



and takes up the lipstick easily — and it is soft enough to 
allow you to press it gently with your fingers into the little 
impressions and indentations of your lips, to give a true 
rouge-portrait of them. You must be especially careful, you 
are told, to get a faithful impression of the corners of your 
mouth. Corners are most important! 

The bits of tissu&,are numbered and then the lip-reader 

(who does not know which impressions are whose) steps up 

and does his reading, amid a good deal of 

mirth and sometimes amid considerable 

astonishment. 

The thing even has its practical uses, ac- 
cording to interviews with the noted Vien- 
nese psychologist, Dr. M. \'ort, now tour- 
ing this country, who avers that the study 
of mouths is being used in European labo- 
ratories where selective mating is being 
tested. The doctor avers that no one should 
marry without first making an analysis of 
the tell-tale mouth of the beloved! 

Artist Says Lips Reveal Most 

BUT it is Willy Pogany, the artist, who is in constant de- 
mand at Hollywood lip-reading parties. Mr. Pogany is in 
Hollywood chiefly for the purpose of designing sets, but he is 
also well-known as a portrait painter, and famous people all 
over the world have sat for him. Mr. Pogany says that the 




^-''^:Z"c...' t 



Willy Pogany says that all artists, in 
making portraits, concentrate on 
the mouth as the surest character 
index. At top, he is sketching David 
Manners, whose mouth reveals him 
to be almost super-sensitive 



tions, drawn merely from a study of 
one of these lip-stick impressions or, 
perchance, from the lower halves of 
photographs, or even from the lower 
halves of actual faces which were 
swathed from the noses up, that Holly- 
wood is developing a fanatical behef in 
him and is studying his methods w-ith 
Hollywood's characteristic earnestness. 
Here are some of the things he has 
deduced from the mouths of famous 
stars. You may study these, learn their 
characteristics, compare them to your 
own lips — and perhaps do a bit of lip- 
reading at your own next party! 



33 



Ha V e Yo u Lip s Li ke Movie Stars? 




These are the lips of (1) Ramon Novarro, (2) Maurice Chevalier, 
(3) Marlene Dietrich, (4) John Barrymore, (5) Miriam Hopkins, 
(6) Greta Garbo, (7) Lionel Barrymore, (8) Fredric March, (9) 
Lewis Stone, (10) Sylvia Sidney, (11) Richard Arlen, (12) Wynne 
Gibson, (13) Marie Dressier and (14) Gary Cooper. Somewhere 
among them may be lips like your own. And in this story you 
will learn what character secrets each set of lips reveals. Would 
you suspect, for instance, that Chevalier and Marlene Dietrich 
are both hiding sentimentality — from all but lip-readers? And 
that Ramon Novarro is "afraid of ugliness"? 



Joan's Lips Show Inner Turmoil 

MR. POGANYsays that Joan Crawford possesses one of 
the most interesting mouths in the entire industry. 
When he looked at it first, without knowing whose it was, he 
declared that it was similar to the mouth of Mussolini! (Look 
up portraits of both of them and see for yourself wherein the 
similarity lies.) 

Joan's mouth, he says, is first of all generous. The owner 
of those lips is intelligent, loves a joke, loves people, but 
becomes so passionately attached to them and so intensely 
interested in whatever she is doing that she will always be 
unhappy. She is utterly unable to take a detached view of 
anything — especially of herself. She cannot analyze. She 
can only feel. There is frustration and tragedy in the droop 
of those lips at the corners. She will never be satisfied with 
anything — particularly with herself. Moody, sensitive, an 
artist to the depths of her soul, she judges herself so relent- 
lessly that her life is one long inward turmoil. 

Isn't that an accurate portrait of Joan? Look at her pic- 
ture mouth and judge for yourself how like it your own 
mouth is. Or — the mouth of someone you know. 

There is no mystery, he declares, in Garbo's mouth. That 
quality exists only in the upper part of her face — and in 
people's imaginations. It is an inscrutable and secretive 
mouth, yes. But these are different matters. The Swedish 
siren's mouth betrays frustration and tragedy — and a terrific 
desire for escape. There is disappointment there and a de- 
termination not to let the world know how she has been hurt 
by life. Her hps show that she is intellectual, rather than 
analytically inteUigent; that she is strong-willed; that she is 
sensitive to beauty in all forms — especially to music — and 
that she is succeeding, slowly and painfully, in persuading 
herself that she is sufficient unto herself. 

•Her half-smile, he adds, is nearly as provocative, though 
not nearly so mystic, as that of the Mona Lisa. It is her 
mouth which accounts for her hold upon the imaginations of 
miUions of people. 

Marlene Hides Sentimentality 

M.\RLENE DIETRICH'S mouth he found to be in- 
telligent, maybe a leetle mite selfish, and with a 
tendency to melancholy. 'Tnwardh', she is a sentimentalist 
— but she tries valiantly to hide it." She is extraordinarily 
determined about small things, but inclined to be perhaps too 
yielding about important ones. She is a trifle inchned to pose, 
too, as something she is not. She might assume a pose of 
decadence, but it would be a pure and dehberate pose of an 
intellectual nature, it would have nothing to do with the real 
woman. 

"I think," he added, judicially, dissecting the imprint of 
the mouth, "that this woman — whoever she is — has what I 
should call a 'queen complex'!" 

Marie Dressler's mouth, he found, showed just what you 
would expect. Humor, courage, a great heart — and the 
record of much suffering. "It must have been the suffering 
which made her develop the humor and the courage!" 

(I'U have to confess to you just here that he guessed, at 
once, whose mouth it was. "There is no other like it!") 

Of Claudette Colbert he said, "But this isn't her real 
mouth that I see. It is the sort of mouth that this girl would 
Hke to have — and you may judge a great deal about the 
person from what she wants to be! This woman has a good, 
strong, intelligent mouth. But she makes it up to be pretty 
in a doll-like fashion. She corrects nature. She tries to hide 
native inteUigence and judgment under a merely pretty out- 
Hne. Such a feminine mouth! And such a desire to please! 
This mouth is sensual — a little — it is determined and brooks 
no interference. It uses the most feminine wiles in the world 
{Continued on page 8o) 



34 



U T' 



Im 



Leaving, 

But III 

Be BacF 



By Leonard o. mosley 



THE jinx that hovers over the heads 
of some of Holljrwood's players 
seemed very close to the silken 
hair of Tallulah Bankhead only a 
few weeks ago. It seemed as if the thing had 
come to pass which those theatregoers who 
had toasted her in England vowed never could 
happen. Tallulah was reported to be leaving 
the film colony, temporarily, and taking with 
her none of the fame with 
which movieland had tempted 
her. But a few days later, 
just when it was reported 
that her trunks and bags 
were all packed, along came 
further rumors that she was 
dickering with a studio to 
continue her film career. 

"I'm leaving, but I'll be 
back," said Tallulah — and in 
the tone of her vibrant voice 
is the conviction that Holly- 
wood hasn't done right by her, 
but that the movies offer 
limitless possibilities, and the 
determination to prove that a 
Bankhead never raises the 
white flag of surrender, even 
with jinxes in hot pursuit. 

Few actresses of Tallulah's 
fame on the stage would feel 
the way she does about the 
opportunities the screen offers 

— not after starring parts in six pictures had increased that 
fame by hardly the fraction of an inch. But Tallulah feels 
that few actresses, on the other hand, have ever had to face 
such a discouraging succession of unsuitable roles, or have run 
up against such bewilderment on the part of producers. She 
did not pick her roles; they were picked for her. They were 
not like the roles in which she dazzled London, but, like a good 
trouper, she tried to make the most of them. 

Another stage star, experiencing such a succession of set- 
backs, might believe that the camera and microphone could 
never produce the same effects that can be produced on the 




Impulsive Tallulah Bank- 
head has packed her bags and 
has headed for New York and 
London — but, just to get 
the record clear, she wants 
you to know that she isn't 
leaving because of discour- 
agement or gossip and that 
she won't stay away very long. 
In fact, she may return to pic- 
tures next Spring to make a 
fresh start. She's determined 
that Hollywood won't beat 
her! 



stage; she might beheve that they could 
never catch the httle subtleties that put 
across personality on the stage. Tallulah 
might readily be pardoned for believing 
such a thing — Tallulah of the brilliant 
wit, the unique, zestful personalit\', the 
sophisticated, devastating honesty, the 
un-self-conscious independence, the emo- 
tional fire. But Tallulah, who became 
languorous and repressed and semi-tragic 
in her screen roles and to whose beauty 
the camera has not even yet done justice, 
does not harbor the thought. 



"If at First You Don't Succeed- -" 

Tc 



ALLULAH has heard of the words 
of Cecil B. De Mille: "A player who 
doesn't register in his or her first featured 
role will never be a star." Harlow, 
Dietrich, Gable and Weissmuller regis- 
tered. Tallulah Bankhead didn't. But 
Tallulah doesn't believe that sealed her screen fate. For one 
thing, she was a famous dramatic star long before she saw 
Hollywood. She wants to make a fresh start. 

"If only the choosing of my stories had been different 
before now," she saj^s, "the result of my stay in Hollywood to 
date might make a happier tale. And it's difficult to fix the 
blame for those stories. I didn't know, myself, what roles 
would best fit me on the screen. Searching for the right role 
was a sort of 'trial-and-error' business by everyone concerned 
— we'd try a role, and then discover our error. But 30U 
{Continued on page yg) 

35 



COAST 
FLASHES 



News and Gossip 



^ If It's The Latest Hollywood News You Want, 



RICHARD ARLEN gleefuUy an- 
^ nounces that he and Jobyna Ral- 
ston expect a new arrival in March; 
Richard Dix confesses he is an expectant 
father; and Joe E. Brown hopes his 
Jimrth child won't be twins. 



Vivian Duncan was very blue at the 
Brown Derby the other day. Not, how- 
ever, because she had lost Nils Asther 
for a husband, but because the news- 
paper pictures of her on the witness 
stand were so poor. It got on her nerves, 
she intimated to the judge, when Nils 
and his mother would talk about her in 
Swedish. Then she whispered what 
Nils called her in English — and the 
judge gave her a decree. 



ALICE JOYCE and director Clarence 
zV Brown are the latest center of 
romance reports. It looks now as 
though it may be wedding bells, when 
Alice returns from Reno with her 
divorce from James Regan. "I always 
marry burly Irishmen," Alice said once, 
resignedly. The first copy of Motion 
Picture Magazine, published twenty- 
two years ago, carried a picture of lovely 
Alice, the Kalem Girl. And she looks 
very little older now, except for her 
graying hair. 



JEANETTE MACDONALD is going 
to France to make a picture or two 
or three. She just can't settle down, 
that girl. And with her travels her 
enormous sheep dog, which weighs all 
of a hundred and forty pounds. This 
was the dog presented to Jeanette on 
the wharf by the English Sheep Dog 
Society on her last trip. With her, also, 
will go her mother and her manager- 
"fiance," Robert Ritchie. When will 
they admit to being married? Jeanette 
still defies any reporter to produce a 
marriage certificate. 



The big news of the month probably is 
the report from Sweden that, when 
Garbo returns to America, she plans to 
mingle with the mob once more. She 
is tired of being pursued. She stole 
away from Sweden for a brief hoUday 
in London and Paris, but her "disguise" 
of smoked glasses, tweed clothes, heavy 
shoes and heavy stockings had the de- 
tectives hot on her trail. What an act — 
and isn't it getting tiresome? 



RAMON NOVARRO has had enough 
of lonely independence. For five or 
six months he has kept bachelor's hall 
in the new modernistic house that he 
designed, himself. But now he is moving 
back with his huge family of brothers, 
sisters, parents, uncles and aunts. 



LAURENCE UNDERSTANDS GLORIA PERFECTLY 




THE Mary Brian-Buddy Rogers 
romance is still in status quo. And 
Russell Gleason is back from Europe 
now to add the third angle of the tri- 
angle. Buddy and Mary have grown up 
together, and that's bad for romance, 
but a friend of his said recently, "He 
has always been in love with Mary and 
he still is, and I rather think he always 
will be." Buddy is waiting to see if he 
is offered a good movie part. If not, he 
has a sure five or six thousand a week 
waiting for him in New York, where he 
truly lives up to his loathed nickname 
of The Darling of the Debs. 

MAKING BIG COMEBACK 




It's a question whether Gloria Swanson is dressed for a costume ball or is just wearing 

one of the "new" styles — but it's certain that she's getting on famously with Laurence 

Olivier in England in "Perfect Understanding."Michael Farmer also is in the cast 



Give Alice White a hand! Out of movies a 
year, she returns in big roles in "Em- 
ployees' Entrance" and "Luxury Liner" 

MILDRED DAVIS LLOYD writes 
from Europe, "Harold wouldn't 
take me to the really lively places in 
Paris, so I made Joe Reddy (his press- 
agent) go with me!" 

Europe has taken the Lloyds to its 
heart — when it has recognized them. .\ 
burly attendant at Buckingham Palace 
took them for ordinary American sight- 
seers and decided to swagger a bit. 
"Heverybody from Hamerica knows 
me," he averred. "I 'ave shown all 
your celebrities abaht. I suppose I 
might say I've one of the best-known 
fyces in the world." He was pleased 
with the effect he made on the meek- 
looking tourists until someone asked, 
"Do you know who that was? Harold 
Lloyd!" And then was his face red! It 
was like a scene in a Lloyd comedy. 



36 



of the Studios 



LATEST 
BULLETINS 



You Are Sure To Find It In Motion Picture ^ 




7 



ft 



W^-^ 




Eyeful 



Mary Mason's legs made others famous. In seventy-two pictures, 
no less, you have gazed upon them ^vhen you thought you were 
seeing some less shapely star's. Now Mary gets a chance on her own 



RATHRYN CARVER MENJOU was 
planning to move to New York 
City, and friends said she might go on 
the stage. Though she was still occupying 
Adolphe's house on top of a Hollywood 
mountain (Adolphe was living with his 
mother), she said, "I don't want the 
house. It's his. I want to get away." 

The first Mayfair party of the season 
had its usual drama, when those attend- 
ing noticed that Kathryn Carver, with 
several women friends, was occupying 
the table beside that at which Adolphe 
sat with a party. Neither spoke the 
entire evening. 

Milton Cohen, famous divorce lawyer, 
was representing the second Mrs. Men- 
jou, after performing the same legal 
service for the first Mrs. Menjou (Kath- 
erine Tinsley) seven years ago. 

When the impending divorce first was 
admitted by Adolphe, Kathryn claimed 
that she didn't know what it was all 
about. However, neither criticized the 
other, and reconciliation followed! 



JEAN HARLOW is rigidly observing 
the proper period of mourning for Paul 
Bern, not planning to go out anywhere 
in public until next March. While it is a 
delicate tribute to her dead husband, it 
must be a little hard on a vital, socially 
inclined girl in her early twenties. She 
hasn't been up later than eleven in the 
evening since Paul died, she says. Some- 
times she caddies for her stepfather, 
Marino Bello, on the golf links — but that 
is hardly an appearance in public. A 
friend tried to persuade her to put on a 
black wig and go to a big football game 
a few weeks ago, but Jean refused. Wait- 
ing for the start of her next picture, she is 
writing a novel. 



Ruth Chatterton and her new husband, 
George Brent, have many tastes in com- 
mon. One is a taste for the conversation 
of Ralph Forbes, her first husband! 
Every so often, George will suggest in 
the evening, "Let's have Raie over, shall 
we?" Whereupon Ruth 'phones, and the 
three of them sit up till dayUght, argiiing 
over some weighty and abstruse ques- 
tion, just as Ruth and Rafe used to do 
last year. 



Charles Farrell has reported for work 
again after a vacation spent in recuperat- 
ing from a long-needed sinus operation. 
Cast in "The Face in the Sky," he went 
to the studio heads and begged to be 
given a leave of absence. "I've worked 
in dreadful pain for the last two pictures," 
he told them. Spencer Tracy was moved 
into his part while he was away. CharUe 
will have to imdergo yet another opera- 
tion, close friends report. 



DID you note anything different 
about Alice White on the page 
opposite? The famous little blonde has 
a "new" nose. She did a disappearing 
act a few days after signing her new con- 
tract — and when she came back, she was 
even more glamourous than before. 



HELEN MACKELLAR, another 
Broadway actress, walks away 
with one of the season's plums — the title 
role of "The Goose Woman." Louise 
Dresser played it in the silent version — 
why not now? Also Anna Q. Nilsson had 
hoped to play it for her comeback. 

Why does Hollywood have such a 
blind spot for its old friends? There are 
Sue Carol, prettier than ever and still in 
her early twenties — and Rod La Rocque, 
dabbling in his laboratory, instead of 
delighting the ladies on the screen, and 
in the audience, too. But his wife, 
Vilma Banky, is returning in "The 
Rebel." 

DID you know that Zasu Pitts — ^who, 
by the way, is "Hollywood's 
greatest actress," according to Erich 
Von Stroheim — has six children, five of 
them adopted? And that Wallace 
Beery, who has adopted three, now 
wants to adopt two more? 

LOOKING FOR THRILLS 

3i 




And Fay Wray and Bruce Cabot find them 

in "King Kong" — in which a giant mad 

ape tries to wreck their romance 

THE latest Hollywood rebel is 
Miriam Hopkins, who was all slated 
for stardom. But when she read the 
script of "No Man of Her Own," in 
which she and Clark Gable were to play 
together, she refused to play. Some 
said it was because Gable was to be 
billed above her; others that Dorothy 
Mackaill had a scene-stealing role. But 
Miriam said her role was just so-so. 



37 



News and gossip of the Studios 



HAROLD LLOYD won't be meeting 
Douglas Fairbanks in Russia, 
after all. The approach of the holidays 
changed Doug's mind about the lure of 
globe-trotting and he headed for Pick- 
fair. It's an old habit of Doug's. He 
makes big, enthusiastic plans to roam 
the wide world; then he begins to cable 
Mary Pickford that she must rush her 
picture through and meet him some- 
where; then he decides that holidays are 
lonesome times in foreign lands and, the 
first you know, he's back. 

Mary has almost finished her new pic- 
ture with Leslie Howard in the long con- 
tested male role. Once called "Happy 
Ending," "Shantytown"and"Yes, John," 
it is now "Secrets." 

KEEPS COOL AT TENNIS 



The Boys Take on Some Heavy Competition 




All the girls — including Sally Eilers — now 

wear shorts for tennis. She is practising, 

no doubt, for "The Giant Swing" 

THE parting of the Stanley Laurels 
was a surprise. Any divorce in the 
English colony is always a surprise. But 
having come to the step, Stan has been 
more than a good sport, according to his 
friends. If they have the facts straight, 
he has turned over his bank account, a 
$300,000 trust fund and his Beverly 
Hills home to his wife. They have a 
little four-year-old girl, who seems des- 
tined to be another "divided" chi.d. It 
was she who answered, when asked 
whose little girl she was, "Laurel and 
Hardy's." Laurel is the third comedian 
of late to be divorced — Cliff Edwards 
and Buster Keaton having preceded him. 




Elliott Nugent and Charles Farrell, left, swing a couple of mean tennis racquets — in 

fact, they're good enough to stand up against John Van Ryn and Wilmer Allison, the 

Davis Cup players, right. The net stars had a good workout 



MAE CLARKE is playing the field 
now. She has twelve beaux, she 
admits. "I'm never going to tell a man 
'I love you' again," says Mae. She has 
"come back" with a bang after her 
recent severe illness, which once threat- 
ened to end her acting career, and is in 
demand at all the studios. At present 
she and Neil Hamilton are keeping a 
diary on the "Acquitted" set at Colum- 
bia, confessing thoughts about each other. 

DANGEROUSLY DREAMY 



THAT was Warren Hymer beauing 
Loretta Young the other evening. 
Loretta protests that even if she was 
"crazy about" a certain leading man 
before his marriage, it doesn't mean any- 
thing. " Men fall in and out of love often 
— why not women?" Loretta asks gaily. 




Helen Twelvetrees didn't get the baby 
daughter she was planning on. She had 
her heart set on the baby's being a girl, 
and had planned the youngster's clothes 
as far ahead as her marriage — but it was 
an eight-pound boy the stork brought. 
Bet Frank Woody didn't mind, though! 
Helen went East to her old home-town, 
Brooklyn, to have the baby, who has 
been named Jack Bryan Woody. Off the 
screen for nearly a half-year, Helen will 
resume her career in January. 



Freulich 

When a fiery adventuress goes dreamy, 

it's timie for the hero to beware. Tala 

Birell proves it to you in "Nagana" 



JEANETTE MACDONALD told us aU 
about the rooster the other daw It 
seems that there is a law in Beverly 
Hills against roosters' living after a certain 
age — the age when their crows begin to 
be annoying to the neighbors. The 
rooster next to Jeanette's house was 'way 
over the prescribed age, with a healthy 
crow at about three in the dawning. 
Jeanette tried cotton in her ears, but it 
was no use. So, finally, she complained 
to the authorities. The rooster doesn't 
bother Jeanette any longer — but it isn't 
dead, either. It is a children's pet, and 
now it sleeps in the same room with the 
small boy of the family, who hastens to 
stifle any early morning crowing at the 
first symptoms! Did you know that 
Jeanette has struck up a friendship with 
Janet Gaynor? 



38 



News and Gossip of the studios 



T T THEN Harpo Marx was given an 

VV invitation by the Soviets to visit 
Moscow in jNIarch and show some of his 
famous pantomime, it was the signal for 
a barrage of wisecracks from three of the 
Four Marxes. Harpo, pulling a Groucho, 
said that of course he would take along 
his harp; "it will help to string along 
the Russians." Groucho, himself, wise- 
cracked that Harpo received the bid 
because he bought his harp on the five- 
year plan, and added that Harpo 
couldn't go to Germany because the 
!Marx aren't worth much. Chico said 
Harpo had heard about free love and 
wanted to take steppes — and prophesied 
the wolves would be at Harpo's door. 



SYLVIA GOES JAPANESE 



Word from a small island in the Adriatic 
reports Leslie Fenton and Ann Dvorak 
Fenton still rapturously happy and be- 
lieving implicitly that the world (Holly- 
wood) is well lost for love. Leslie is 
working in a German picture on location 
there, and Ann has learned to speak 
German so well that she, too, was offered 
a part in the picture, but refused it 
because her argument with Warners is 
still unsettled. 




THE latest news about George Raft, 
the Broadway feller, is that he has 
bought a chicken ranch 1 California gets 
'em that way. George is making his 
ninth picture in rapid succession without 
a vacation, and probabl}' the idea of 
hanging around the coops, with nothing 
to do but collect eggs when the chickens 
lay them, listens pretty well. 



ON EVERY SIDE ARE DANCERS 




You usually have only one frame for a picture, but here 

are four — all belonging to chorus girls. Between them 

you see Ruby Keeler and Ginger Rogers dancing for 

director Lloyd Bacon in "42nd Street" 



Sylvia Sidney plays the biggest role of her 

career as sad "Madame Butterfly," who 

breaks a tabu and loves a white man 



NO one was surprised when Helen 
Hayes won the award of the Acad- 
emy of Motion Picture Arts and Sciences 
for the best feminine acting of the year. 
In "The Sin of INIadelon Claudet," a 
story that was none too new, she made 
one of the most impressive screen debuts 
of all time — changing from a young girl 
to an old woman and being real all the 
way. Fredric March won the male 
award for his triumph in " Dr. Jekyll and 
Mr. Hyde" — in which he 
gave a brand-new inter- 
pretation of the infamous 
Mr. Hyde. But Wallace 
Beery, for his work in 
"The Champ," gave him 
a close race — receiving 
onl}^ one less vote and 
getting a special award in 
consequence. The award 
for the best photography 
of the 3'ear went to Lee 
Garmes, who made 
"Shanghai Express" 
something to remember. 
The best original screen 
story of the year, in Hol- 
lywood's opinion (and 
you probably won't dis- 
agree) was "The Champ," 
by Frances Marion. 
Frank Borzage, director 
of "Seventh Heaven," 
was hailed as the best di- 
rector of the year for what 
he did with "'Bad Girl"— 
and may win again this 
year with "A Farewell to 
Arms." And Walt Disney, 
the creator of Mickey 
Mouse, receiv^ed a special 
award for his amusing 
and original cartoons. 



IRENE DUNNE'S husband, Dr. F. D. 
Griflin, suffered a sudden attack of 
appendicitis and had to undergo an 
emergency operation. Irene rushed 
across the country to be with him — and 
her unexpected appearance in New York 
started rumors she was consulting di- 
vorce lawyers. And was Irene mad! 

HELEN PLAYS A CHINESE 




Helen Haves' eyes are slanting, too, for 
her role in "The Son-Daughter." But 
Helen loves a Chinese (Ramon Novarro) 

KAREN MORLEY is tired out. She 
may leave Hollywood for a rest 
cure soon — and make a honeymoon out 
of it, for she has announced her engage- 
ment to Charles Vidor, her director in 
"The Mask of Fu Manchu." Under- 
weight at the best of times, Karen has 
worked continually this last year and 
while making a scene the other day 
fainted and fell down a flight of stairs. 
That convinced her it was about time. 



Katharine Hepbiu-n has Hollywood 
guessing. She lives very quietly with a 
girl companion, and plays tennis in her 
spare time. She rides in a Hispano- 
Suiza (which she claims was a second- 
hand bargain), wears faded blue over- 
alls (with a new patch on the seat) to 
work, and sits on the curb to read her 
mail. "I've spent the morning thinking 
up nice lies for my studio biography," she 
says with engaging frankness. 



CARL LAEMMLE, JR., and Eleanor 
Holm, the little Olympic swimming 
champ, are going places together. Mrs. 
Daisy Moreno is chaperoning Eleanor, 
who is very young, while she is getting 
started in the movies. Miss Holm sur- 
veys the studio scene with amusement 
and admits that if she doesn't make 
good, it won't hurt her young life. 
Meanwhile, Warners are having her 
coached in dramatic technique. 
{Continued on page 8j) 



39 




Phijfe 



Seeing "Cavalcadc" ^^ru 

Hollywood's Eyes 



Top, principals in the 
all-English cast: left to 
right, Beryl Mercer, 
Tempe Piggott, Una 
O'Connor, Merle Tot- 
tenham, Billy Bevan, 
Ursula Jeans, Frank 
Lawton, John War- 
burton, Margaret 
Lindsay, Clive Brook, 
Diana Wynyard and 
Herbert Mundin 




Margaret Lindsay 
and John Warbur- 
ton honeymoon on 
the ill-fated Titanic 



Hollywood sees motion pictures 
through different eyes. It sees the 
drama within a drama. It recognizes all 
the heartbreaks attendant to film pro- 
duction — the vast amount of painstaking 
attention devoted to tiny details. None 
of the romance, the clash of many tem- 
peraments, the behind-the-scenes humor 
or pathos escapes a Hollywood audience 
of motion picture peers. 

You, who form the greater public in 
theatres throughout the world, should 
learn to view pictures as Holljrwood views 
them. Your enjoyment will be keener, 



40 



Here is your chance to get a ringside view of the making 
of a milHon-dollar picture — to learn why Fox spent a for^ 
tune to keep the spirit of Noel Coward's great play to the 
last small detail, and how they did it — and to get a close- 
up of the drama-behind-the-drama. It's a chance that 
outsiders seldom have. Don't miss this "inside" story! 



your appreciation of true values 
more acute. That this pleasure 
shall no longer be denied you, we 
offer the first of a new series re- 
vealing the inside stories only Hol- 
lywood knows. Come with us to 
see "Cavalcade," the great play 
about England that America is 
giving to the screen.— Editor's No te 



BITTER resentment 
was expi essed in 
I England when 
"Cavalcade" was 
purchased by an American 
motion picture company. 
Noel Coward, the author, 
could not have been more 



At top center is an actual mar- 
ket place in London's East 
End. Left, the same market 
place as reconstructed in Hol- 
lywood for "Cavalcade" — a 
sample of the faithful repro- 
duction of English scenes 




By 
Grant 
Jackson 




roundly criticized by his country- 
men, had he sold the British crown 
jewels instead of a play. But, as 
the London press described it, 
"Cavalcade" is to Englishmen 
more than a play; "it is a re- 
living, a reunion, a bond; it is such 
sweet sorrow." And Coward for a 
consideration — the consideration 
being a mere hundred thousand 
dollars — had sold into alien hands 
a cherished sentiment embod\'ing 
all the national pride of a proud 
race. Thus, a patriotic issue was 
at stake. 

Fox studio executives met the 
issue squarely. They sent director 
Frank Borzage to England with a 
camera crew. Historical back- 




grounds were explored and photo- 
graphed for later reference. All of 
the available data was gathered 
that might lend accuracy to the 
transcription. Finally, a perform- 
ance of the play, itself, then enter- 
ing its second year at the huge 
Drury Lane Theatre, was filmed 
in its entirety. 

All Players Had to Be British 

WHAT Fox was wisely at- 
tempting to accomplish was 
the transporting of a section of 
London to Hollywood. While the 
theme of " Cavalcade," decrying 
the utter futility of war, is inter- 
national, the exact manner of its 
{Continued on page g^) 



Top center, the English Herbert 
Mundin, Merle Tottenham, Una 
O'Connor and Tempe Piggott lunch 
aboard the "roast beef cart," brought 
from London. Center, Merle Totten- 
ham, Una O'Connor and Director 
Frank Lloyd get homesick after a ride 
in an old London cab. Left, Herbert 
Mundin and Una O'Connor run a 
"pub," with every bottle English 




41 



We 




Nominate for 

TARDOM 



Glenda Farrell Buster Crabbe 



Warners-First National 

SHE is part-Irish, part-German, and wholly Thespian. 
Which means, in case you don't know, that she has 
been acting almost ever since she started breathing. 
She has played all over the United States, beginning 
with Little Eva in her native Oklahoma, playing in stock in 
Los Angeles and road shows in Kansas and Oregon, and 
making a hit on Broadway, where her performance in "Life 
Begins" was so outstanding that Warners lured her to 
Hollywood to play the same role in the screen version. 

Twenty-nine, blonde, vi- 
vacious, Glenda says that 
she doesn't need to diet so 
long as she can work. She 
seldom goes above one hun- 
dred and si.xteen pounds. 

She has an eight-year-old 
son, Tommy, in military 
school and, for Tommy's 
sake, hopes that she has 
given up her lifelong habit of 
"living in a trunk" and can 
settle down. 

Her clothes come from 
Paris, and there is more ma- 
terial to them than to the 
clothes of other actresses 
with Glenda's sex-appeal. 
She doesn't find it necessary 
to be daring to register her 
personality. 



Series Number 10 

Twenty-two years ago this month, MOTION PICTURE dis- 
covered the first screen star. And we are still in the star-discovering 
business. Glenda FarreU and Buster Crabbe are the tenth set 
of newcomers for whom we have predicted stardom in the last 
ten months. 

Our previous Nominees for Stardom have been: 



Gwili Andre 
Tala Birell 
Ann Dvorak 
Katharine Hepburn 
Aline MacMahon 
Lyda Roberti 
Gloria Stuart 
Dorothy Wilson 
Diana Wynyard 



All eighteen of these newcomers have shown, from the very 
first, the kind of talent that brings fame and fortune to unknowns. 
Since we nominated them for stardom, all of them have garnered 
big roles in big pictures. 

Watch for them in coming pictures — for their names spell good 
acting. And check up on our prophecy of stardom for Glenda 
Farrell by seeing "The Match King," "The Wax Museum" and 
"Grand Slam," and for Buster Crabbe by seeing "King of the 
Jungle." More Nominees are on their way! — Editor. 



We Believe in Her 

Because her face is the most important part of her and she 
doesn't need to show anything more. Because with one pic- 
ture role, in "Life Begins," and that not a very big one, she 
registered her personality with the public so that they wrote 
in, begging for more of her. Because she can play any sort of 
part from cuddly young sweethearts to hardened ladies of the 
evening. Because Paul Muni, with whom she played in "I 
Am a Fugitive from a Chain Gang," praised her work — and 
Paul knows acting. Because she loses her appetite completely 
while working on a new part. Because of Tommy. 



Paramount 

TWENTY-OXE years ago, an Oakland family 
moved to Honolulu. The son of the family, aged 
two, found the beach at Waikiki the best play- 
ground possible and the warm Pacific a friend. 
Dressed only in scanty trunks, the boy grew up on the beach, 
in the water, and under the sun. Swimming was as natural 
to him as walking. No wonder that in the years to come, 
Buster Crabbe (pronounced "Crab") was to win two Olympic 
championships, and hold five world swimming records. 

His real name (which he 
loathes) is Clarence Linden 
Crabbe, but the friendly 
"Buster" suits him better. 
He is six feet, one inch tall, 
weighs one hundred and 
eighty-eight pounds, and is 
all muscle. He has just fin- 
ished working his way 
through the University of 
Southern California. 

After Paramount had 
vainly searched the ranks of 
professional actors for a Lion 
Man for "King of the Jun- 
gle" who would be physically 
attractive and have acting 
ability as well, they opened 
the competition to the pub- 
he. Buster, a pal of Weiss- 
muUer, won the role. 

We Believe in Hitn 

Because, in thirty-five screen tests, his naturalness and poise 
equalled those of professional actors. Because Paramount 
has signed him to a seven-year contract. Because after he 
was selected as the Lion Man, the studio decided to spend 
much more on the production than had been planned. 
Because he has strongly marked and handsome features and 
a marvelous physique. Because Johnny WeissmuUer m^de a 
success. Because he isn't married or in love, and hence is 
quahfied to be the hero of a milHon imaginary romances. 
Because he is determined not to "go Hollywood." 



George Brent 
Bruce Cabot 
Preston Foster 
William Gargan 
Dick Powell 
George Raft 
Randolph Scott 
Lyle Talbot 
Robert Young 



Motion Picture Presents the Comin 



42 



BUSTER CRABBE 

His pal, Johnny Welssmuller, set Annerica on fire 
as a jungle hero. And it looks as if Buster — 
who's an Olympic swinnming champion, too, and 
a handsome six-footer besides — will do likewise. 
He gets his big start in "King of the Jungle" 







GLENDA 

FARRELL 



This Oklahoma girl made such a hit in "Life Begins" — as 
the actress who used a hot-water bottle for a flask and was 
fated to hove twins — that she con stay in Hollywood as long 
as she wishes. Her dramatic face is worth a movie fortune 



Stars —They'll Be Your Future Favorites 



43 



CLOTHES GOSSIP 



FROM HOLLYWOOD 



Who's Wearing IVhat 
and How Is Revealed 
in MOTION PIC- 
TURE'S New Depart- 
ment of Advance 
Fashion Tips from 
the New Pictures 



By /)IqaJ^^ 




Nancy Corroll (left) models the dress called "Road- 
house Bum" — with the jacket as it is worn for office 
and street wear and, above, without the jacket, as 
an informal dinner-dance frock. For Marilyn's com- 
plete description of this dress, v/hich is destined to 
become the working girls' delight, and other fash- 
ion hints, read the story on the opposite page 



44 



With this issue, MOTION PICTURE 
MAGAZINE is starting a brand-new idea 
in fashion "tips" for our readers: an 
entire column of gossip and chatter 
about this subject so dear to the hearts 
of Miss and Mrs. America . . . clothes 
. . . and the movie stars who wear them. 
When Chanel was in Hollywood several 
months ago, she said, "There is a story 
behind every dress." We're telling you 
about the dresses here— but if you want 
to get the real effect, go to see them worn 
on the screen by your favorite movie 
star. Remember that these fashion 
tips are Hollywood's own, from Holly- 
wood's leading studio designers. Holly- 
wood, not Paris, started the huge puffed 
sleeve and the ultra-small hat, and it is 
the mission of this new department 
to try to spot such fashion "leaders" 
from the new pictures direct to you. — 
Editor. 

DID you ever hear of the "Road- 
house Bum?" No, she's not a 
gangster's sweetheart. It isn't 
even a she; it's a dress — ^and 
what a dress! Nancy Carroll wears it for 
the first time on the screen in the Colum- 
bia picture, "Child of Manhattan" . . . but 
already younger Hollywood has the "flare" 
of it and you will see this pet model in the 
smartest shops along Hollywood Boule- 
vard. 

If there is a "story behind every dress," 
then "Roadhouse Bum" is the little outfit 
that starts from the house in the early 
morning, goes smartly to lunch, and then 
steps out to a night-club without ever 
going home to change! What a dress for 
Miss \\'ork:ing Girl, who meets the boy- 
friend downtown! Nancy Carroll models 
if for you here, both with and without the 
jacket. 

F"or "daytime wear" Nancy wears the 
"Roadhouse Bum" in red crepe with a 
perky little red felt hat, black patent- 
leather shoes, black patent-leather bag, 
and the little box-jacket tightly looped at 
the neck to carry out the "tailored" idea so 
necessary in the business world. 

Presto ! And It's a Gown 

BUT eight hours later, when Nancy's 
rich admirer, John Boles (in the pic- 
ture, of course), invites her out to a night- 
club for dinner, she takes off the jacket 
and reveals the red crepe dress "pepped 
up" with a silver metal belt, a decollete 
neck and no sleeves. Leave on the longer- 
than-wrist-length black velvet gloves and 
what a cute "informal" dance frock this 
is! The many-colored scarf over Nancy's 
arm isn't necessary, but merely an effect. 
The ensemble is just as cute without it. 
"Roadhouse Bum" is this month's lead- 
ing fashion news from Hollywood . . . 
and if you want to see just how cute it 
can be, don't miss Nancy in "Child of 
Manhattan." 
.Did you know that Stetson, long famed 




And so the sweet young things won't feel neglected, we have Stetsons 
for the girls, too. Watch for these two Stetson hots worn by Mae 
Clarke in "Acquitted." The one at the left is a dark green shallow 
sailor and the other is a saucy black tricorn. Miss Clarke's doeskin 
gauntlet gloves, with the staccato stitching, are imports 



For informal sports wear, Eleanor Holm 
likes the jumper dress shown below with 
the checkered taffeta guimpe. You also 
see her wearing the jacket that converts 
the cute dress into a smart traveling suit 





Eleanor Holm's loung- 
ing pajama ensemble 
(above) has a three- 
quarter length cape 
with o collar of the 
gay checked material 
of red, yellow, blue 
and black — the same 
OS that used for the 
dickey-front 



45 




for making sombreros and cowboy hats for such virile gents as 
Tom Mix, Buck Jones, Hoot Gibson, et al, has been making hats 
for Hollywood's most feminine lady stars, as well? In the Colum- 
bia picture, "Acquitted," Mae Clarke wears a dark green Stetson 
sailor with "'whip" bands of the same material and color as the 
only ornament . . . and is it cute? In the same production Mae 
has an excellent opportunity to call attention to her imported 
gloves, with their snappy, staccato stitching and their longish 
length, as she flirts coyly with Neil Hamilton in a "close-up." Neil 
apparently appreciates well-dressed girls. 

Out on the First National lot the other afternoon, we ran into 
Eleanor Holm, the Olympic swimming champion, who has not 
yet started her first picture, but was hurrying toward a sound stage 
to make a "test." The wardrobe department had just fitted out 
Eleanor in the newest and trickiest little model they could find 
from Magnin's Hollywood shop. The pert little model of heavy 
gray crepe, cross-barred in darker gray, is a "going places" travel- 
ing suit one minute and just a cute "dress" the next. The skirt 
has a single kick-pleat in the front, and the jacket, colorless, 
fastens toward the side and has short 'cape sleeves. Accessories 
include a polka-dot scarf of navy and white, black kid gauntlets, 
felt hat and black pumps. Remove the jacket, and the highlights 
of the jumper-dress are the red-and-white guimp'e of checkered 
taffeta, and the cute pockets on the vest — -as well as the skirt. 

You Can't Go Wrong on Checks 

CHECKS and plaids are just as popular for more formal things 
as they are for street wear. Notice the dressy lounging pa- 
jamas Eleanor is wearing, of rough gray crepe with the hand- 
painted dickey-front in checks of red, blue, yellow and black. 
You can't go wrong on checks, girls. Adrian, fashion wizard of 
M-G-M, has made Joan Crawford some of the most adorable 
handkerchiefs of checked linens in all the combinations . . . blue 
and white . . . red and white . . . yellow and white. . . . 

Have you ever felt like throwing a lemon meringue pie in the 
face of the gentleman friend? Well, Constance Bennett did in 
"Rockabye," in spite of the fact that Joel McCrea has a pretty 
nice face to be treated that way. 

Anyway, Connie gets all dressed up for her pie-tossing mood in 
one of the cutest informal (pie-throwing is so informal, you know) 
black taffeta dinner dresses we've ever seen in anybody's kitchen. 
It flares in the skirt, but not too much — skirts aren't quite so full 
this season, you know — and while the sleeves are modern and 
puffed, they aren't as exaggerated as those Joan Crawford wore in 
"Letty Lynton," which really started the big sleeve fad, thanks to 
Adrian — -(no matter what Paris says). The bouffant sleeve is 



Constance Bennett (top) is seen in 
the formal party gown that she 
wears in "Rockabye," and (left) 
Thelma Todd is wearing the "sports" 
dress from "Air Hostess" in her 
most alluring manner 



Little Helen Mack looks charming 
in fur-trimmed negligee (right), but 
she calls your special attention to 
the correct way to roll your- hose 




46 



Clara Bow Is shown 
(extreme right) in the 
evening gown you will 
see her wearing in 
"Call Her Savage," 
with Monroe Owsley 
In this love scene (right) 
with Clark Sable, in 
"No Man of Her Own," 
Carole Lombard has 
on a pearl satin eve- 
ning gown with sable- 
trimmed, short-sleeved 
jacket. Below, Lew 
Cody lends Nancy 
Carroll a helping hand 
in "Under-Cover Man" 
when her white lace 
gown is "ruined" 



still good, but not quite 
so bouffant ... if you 
know what we mean. 
Any style that starts 
as a fad eventually 
reaches moderation. The 
pufled sleeve meets it 
in the kitchen scene of 
"Rockabye" when Con- 
nie Bennett lifts her 
arm for the purpose of 
throwing a pie just high 
enough to prove that her 
sleeves aren't too full! 
If you want to be 
fashionable after the 
Hollywood fashion, 

you'll glitter just a little bit this season. Perhaps not 
so much as does Constance Bennett in her formal 
party gown in another sequence from "Rockabye" 
. . . and maybe not so much as does Thelma Todd in 
the seduction of Jimmy Murray in "Air Hostess" 
. . . but you'll glitter at least a little. 

A Dress No Man Can Resist 

KALLOCH, designer-in-chief of the Columbia 
wardrobe, really put his mind to it when he 
conceived this highly seductive and colorful "sports" 
dress (believe it or not) to be worn by Thelma Todd. 
Though Mr. Kalloch insists upon calling it an ex- 
aggerated sports dress, the material is of black and 
gold tissue cloth. The huge sleeves start at a high 
waistline, going into a very tight cufT. The soft, 
draped neckline is most effective. The shoes of 
black and silver match the frock. Now, we wouldn't 
advise you to attend any hockey matches in this 
particular "sports" dress, but what a grand idea it 
presents for an informal hostess gown, or the ever- 
popular tea gown! Such a dress as this should be 
worn with "seduction" ... if you get the drift. If 
not, don't miss seeing how Thelma Todd does it 
with Jimmy Murray. 

Paris is still strong in advocating the straight, 
"girdled figure." The studio designers are not 
nearly so keen about the idea. The loose, ungirdled 
figure is much more to the liking of the men who 
create models for Joan Crawford, Connie Bennett, 
Tala Birell, Marlene Dietrich, Carole Lombard, 
Lilyan Tashman and other fashionable pace-setters. 
{Continued on page 86) 




47 




Joel McCrea would rather wear a set of swimming trunks and a coat of tan than be The Weil- 
Dressed Man, and Katharine hHepbum also wears just what she likes. In other words, they don't 
much care what they wear, so long as they're comfortable. But they're mighty particular about 
their reading matter. . They have to be, for they are too busy as two new stars — together, as it 
happens, in "Three Came Unarmed" — to have any time to waste. So when they wont to get up-to- 
date about hlollywood, Joel and Katharine both make sure that they pick up the magazine that 
tells the news, the whole news, and nothing but the news — about the new stars and the old, their 
pictures and their colorful lives. Like other stars, they just naturally turn to MOTION PICTURE, the 
magazine that has been glorifying the movies for twenty-two years — longer than Hollywood has 
been the movie capital, and almost as long as Joel and Katharine have been alive! 

48 



What Has 

MARRIAGE 

Done to 

George Brent? 



When he became Ruth Chatterton's second 
husband, did he start to go under an ecUpse 
— and head for a career as "Mr. Chatter- 
ton"? Not so you could notice! This young 
Irishman may appeal to the ladies, but he's 
a man's man and always will be. And here's 
an up-to-date sketch of him to prove it! 

By DOROTHY MANNERS 



MRS. GEORGE BRENT (as though you didn't 
know who) has a Warner Brothers' contract 
that calls for about $400,000 yearly. Mr. 
George Brent hasn't earned that much in ten 
years. Mrs. Brent has the choice of stories and directors 
for her pictures. Mr. Brent can only take what is handed 
him. Mrs. Brent's bungalow dressing-room could easily 
pass for one of the nicer little places in Beverly Hills. Mr. 
Brent has a key to a room where he "makes-up." We are 
calling these little things to your attention because, in 
spite of a perfect set-up for it, Mr. George Brent is most 
decidedly not "his wife's husband" — and never will be. 

He's Irish — and as independent as the Fourth of July. 
Without being stubborn or disagreeable or moody, he is the 
kind of male who would always be the head of his own home, 
even if he were married to real, and not mere movie, royalty. 
Someone once said that sex-appeal was the ultimate of 
the feminine in Woman, and the predominance of all mas- 
culine qualities, including leadership and authority, in a 
Man. Working on this definition, George Brent has plenty 
of "It." Without tending to be sleek or suave after the 
sheik-fashion, he exudes masculinity. Not particularly 
athletic, he likes polo, tennis and swimming. But you 
couldn't get him in a game of bridge even if he knew he was 
going to win. 

His Idea of Sex-Appeal 

HE likes women feminine — but brainy. The more opin- 
ionated, the better. He thinks women are never so in- 
teresting, or so pretty, as when they are championing a cause. 
He claims intense enthusiasm is like turning on a light — 
it illuminates a woman's face. 

He cordially dislikes women who sprout the made-over 
opinions of their bread-winners. Coy women nearly kill 




him. Of all phrases, he most hates: "I'm sure I don't know 
. . . what do you think.'"' George's ideas of women with sex- 
appeal are Ruth Chatterton, Elsie Janis, Helen Hayes, and 
others of their mental ilk. Blondes or brunettes are im- 
material. He is particularly attracted to dark clothes for 
women, even for evening gowns. 

He can be cheerful in the morning without "singing in the 
bathtub." His first gesture upon awakening is to reach 
for a cigarette. If he had to eliminate any one early morning 
pacifier, he could get along without even cofTee — if he could 
have his cigarette. He knows he smokes too much, without 
attempting to kid himself into "cutting down." He knows 
he won't. On certain "nervous days" he has been known to 
smoke as many as four or five packages. On just ordinary 
days, he consumes about three. 

Food is not particularly important in his life — just plain 
cooking without any fussing is right up his street. However, 
he has one table eccentricity. He doesn't use cream or 
sugar or salt or pepper on anything. His greatest aversion 
is milk. He cannot bear it even served at the same table 
where he is eating. (Continued on page 84) 



49 




Richee 



Probably every schoolgirl in the civilized world has wondered what Patricia Detering-Nathan 
did: hlow to get in the movies? She was in Europe at the tinne, far from Hollywood. Somebody 
told her that she ought to get a promoter to ballyhoo her. So she did — only she did an unusual 
thing: she entrusted another pretty girl, only two years older, with the man-sized job. And before 
you could say "Patricia Detering-Nathan," the schoolgirl was Sari Marltza, a famous little screen 
star. How was it done — and are the two girls still friends? You'll find the answers across the page! 

50 



How SARI MARITZAWas 

Made a Star 



This is the story of the most unusual friendship in Hollywood. It's a 
rare movie actress who wants a pretty and clever girl-friend, but Vivyan, 
Gaye, besides being that, is also Sari's business manager— one of the 
cleverest in captivity. She was the one who thought up the exotic 
Viennese name — and got Sari her movie chance! 



THE most remarkable thing about 
Sari Maritza is her manager. 
Vivyan Gaye — who really create d 
the actress Sari Maritza out 
of a completely inexperienced bit of 
English raw material named Patricia 
Detering-Nathan — is a personable 
young blonde of twenty-four, 
only two years older than her 
charge. She used to be a picture 
actress, herself, and probably 
could be again if she weren't 
too busy making up helpful 
stories about Sari and seeing 
that the producers give her all 
sorts of concessions in her 
contract which they bitterly 
regret the next day. Vivyan 
is attractive enough to do 
very well for herself with 
Hollywood's high-powered 
sheiks, ranging all the way 
from Ernst Lubitsch to 
Randolph Scott. Her per- 
sonality is more vivid and 
colorful than Maritza' s own. 
This is remarkable for 
two reasons. First, because 
it sets Sari apart among 
actresses, as one of the few 
who have the courage to be 
constantly in the company of 
an attractive girl. Most ac- 
tresses choose to go around with 
the worst models nature has 
been able to put out, the better 
to set off their own charms. It's 
almost an infallible rule that, 
whatever her spiritual graces may 
be, the girl-friend of a movie star is 
as homel}' as a mud fence. Through- 
out the annals of the theatre, ac- 
tresses have always picked out the 
plain and the mouse-like for their com- 
panions. Imagine what a shock it was to 
Hollywood when 
the IMisses Gaye 
and Alaritza ar- 
rived to shatter 
tradition! 




I 



By ELISABETH 
GOLDBECK 



Secondly, it's remarkable because Sari has 
never before had a girl-friend. She dis- 
likes women, and distrusts them. 

Disillusioned About Girl-Friends 

THINK that feeling began 
when I went to boarding 
school in England," said Sari in 
her gentle accents. "The schools 
there are very strict — horrible, 
like prisons. I hated it. My 
sister and I had always been 
more or less together and 
apart from other little girls. 
But at this school I had one 
very close friend. For a 
whole year we were insepa- 
rable and I had a very great 
affection for her, and she 
pretended to be devoted to 
me. But suddenly she 
turned against me, for no 
reason at all that I knew. 
It was a bitter experience 
for me, and I have never 
trusted a girl since then, or 
allowed one to be my friend." 
So even Sari is amazed to 
find herself living in perfect 
harmony with a girl of ap- 
proximately her own age. They 
have been together for three 
j-ears now, and have only had 
three quarrels, about such 
trifling things that they couldn't 
remember them the next day. 
"She's the only girl I could 
possibly get along with," Sari said, 
"and I would have gone crazy in 
Hollywood without her. We lead 
our own Uves and don't interfere with 
each other. \'ivyan is a good balance 
for me. She's a stronger character than 
I am, more reliable and firm. I'm here, 
there, and everywhere, and not to be de- 

p e n d e d 

—^^ ^,.^ upon. I've 

not much 

{Continued 

on page jS) 



51 



'Motimfkture Celebrates 



its 








52 




j\ irth day 



THIS month, February, 1933, Motion Picture Maga- 
zine celebrates its twenty-second birthday. The first 
number, February, 191 1, three years before the 
World War, was also the first issue of any screen 
magazine. Indeed, it was to be a long six years before Motion 
Picture Magazine had a rival on the newsstands. 

At the time when we published our tirst number, the motion 
picture industry was small and struggling. JMovie theatres were 
stuffy stores or shooting galleries with wooden kitchen chairs for 
seats. They were called "nickelodeons." .A.t intervals the ticket- 
taker went up and down the aisles, squirting a powerful, but 
reeking perfume to make the air endurable. The pictures were 
blurry, one-or-two reel melodramas that flickered and fluttered 
crazily. MUains with black-dyed mustaches threatened white- 
muslined heroines, while the handsome heroes rode — klop- 
klop — to the rescue. The players, for 
the most part, were unknown and name- 
less while the stage actors sneered at the 









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rn acfe in ^tbmm. t^U. to^en 

^ action Picture Q^asajine 

m^ born, t^r motjieo wm al0o m 

terft intanc?. I^ot mn €mm, 

t^iinttnm ot motion pictntrs. 

irramcl, tpt oonu i>a)> m tooult. 

6f amnica's tourtt) largest ittt,u0= 

tr? ana Safer a ttorllr aitnicnce ot 

113,000,000 people. ^W iS i»ft? ^'^ 

are 0O ptouU of our Ions ijxOtorp- 

toe toetc t^e first publication in m 



toodl.tobdirbrmt8epo0sibiimf0 
ot tie mobics tot entertainment 
^nb education, tt,c Urst maffa?ine 
to tell tfje toorlb about t^e fascinate 
ins b«0inf0s oi mobkmiakins, t^e 
er0t to bramatije t^t smm artot0 
anb artte00c0, t^c titst to toteget 
tie mobies' snat future as -tf)e 
aniu0fnient of tie masses." 

potion mctim is proub to ftabc 
been ttfeie Utst anb olbf0t f«>nb. 




'■v\"hirling pictures as a "cheap-john" amusement device. 
The creators of ]\Iotiox Picture Magazine believed in 

the new art, believed in it more than the people who were 
f making the pictures, themselves. "Some day," we dared to 
; affirm, "motion pictures will be charging a dollar admission 
J — and getting it." People laughed at such an absurd 
I prophecy. 

j Birthdays are a time for looking back, for estimating the 
' worth of existence. If. in looking back on the twenty-two 
I years in which we have grown up with the industrj% we 

seem to boast a trifle, that is the privilege of such a ripe old 

age as ours! 

How the Movies Have Changed 

IX our publishing career we have seen the claptrap nickel 
amusement device grow to be the country's fourth great- 
est industry; we have watched frightened youngsters de- 
velop into world-famous stars; we have seen movie salaries 



change from seventy-iive dollars a week to ten thousand; 
we have seen the studios move from the East Coast to the 
West. And we are just a bit pepped up to feel that we ha-e 
pla}-ed our part in this growth and this glamour and this 
fame. 

But we remember very well our bursting pride when Mo- 
tion Picture Magazine became prosperous and important 
enough to move from the four cramped rooms it occupied in 
an old wooden office building in Brooklyn into a home of its 
own on Duitield Street in the same borough. To be sure, 
that home was a brownstone house converted into offices, 
with the art department occupying the laundry, and the 
editor's desk in an alcove that had once been a bathroom. 
Across the street was a Xegro church. On days when there 
was a wedding or a funeral, no one in the front rooms could 




53 



This is the cov- 
er of the first is- 
sue of MOTION 

Picture — 

which was 
called "Motion 
Picture Story 
Magazine" un- 
til 1914. A pho- 
tograph of 
Thomas A. 
Edison adorned 
the cover 



« ■ a ' " » turn M • 

ine Plotion 

PICTURE 
STORY 

Magazine 








To-day, twenty- 
two years later, 
this is what the 
cover of MO- 
TiON Picture 
looks like — with 
Loretta Young 
the cover per- 
sonality, and 
with "cover- 
lines" inviting 
you inside 



work for the shouts and wails that drifted into the windows. 
To this new home of the Magazine came the greatest stars 
of that day, such as Olga Petrova, in her famous leopard 
coat, Lillian ("Dimples") Walker, Master Kenneth Casey, 
the first child movie player, INIary Fuller, and Ruth Roland, 
all in white with plumes on her hat and a colored maid to 
carry her dog. Also JMabel Julienne Scott, confessing at 
lunch in the editor's dining-room (once the kitchen) that she 
"loved to suffer," Alice Joyce, Pearl White, Romaine Field- 
ing, Anita Stewart, Clara Kimball 
Young, Mary Pickford (shaking 
her yellow curls), John Bunny, the 
first screen comedian, Francis X. 
Bushman and Beverly Bayne, 
Earle Williams, .\rthur Johnson, 
^W^^ James Morrison, the juvenile, and 



Maurice Costello, the first movie idol, whose dimples 
brought sighs to our stenographers. Later years brought the 
newcomers of the day, such as Richard Barthelmess, Norma 
and Constance Talmadge, Richard Dix, Ramon Novarro, 
Lillian and Dorothy Gish, Marguerite Clark, Rudolph 
Valentino, Jackie Coogan, and William S. Hart. 

Discovered Clara Bow 

IN the sanctum sanctorum of the editor-in-chief — formerly 
the best bedroom — the contestants in the first Fame and 
Fortune Contest came to be judged, and from them we 
picked a shabby, wild-haired little Brooklyn schoolgirl, 
named Clara Bow, to send into the movies and on to fame, 
to be followed in later years by X'irginia Brown Faire, 

Aileen Ray, Mary Astor and 
many others whom we may 









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truly boast we "discovered." Autographed pictures lined our walls. 

Because of our parental feelings for the stars whom we have figura- 
tively dandled on our knee, we have chided them gently from time to 
time, praised them, and stood up for them when they were in trouble. 
When that first quaint, small-sized Motion Pictt're Story Maga- 
zine (the "Story" part of the name being dropped after three years) 
appeared, the players of the screen had no names. They were called 
simply "The Biograph Girl," "The Mutual Girl," "The Kalem Serial 
Queen," "Dimples." The trademark was all that the companies of 
those days considered important for the public to know, and that 
appeared in every scene, hung on the walls of hovel or palace, tacked 
to trees and buildings. 

The creators of Motion Picture Magazine realized, even in those 
days, that the public was curious about the people of the screen. To 
satisfy that curiosity, we began to build up personalities. We printed 
the pictures of the plaj'ers with their names; we interviewed them 
primarily as to their preferences in books, sports, flowers and cookerj' 
(questions about their love affairs were a later development!). We in- 
vented the Answer Man, later to be copied by every following screen 
magazine, to answer the public's questions about the men and women 
they saw on the screen. 

What Was in the First Issue 

THAT first Motion Picture IMagazine lies on our desk before us 
now. It carries full-page pictures of Alice Joyce, "Broncho" 
Billy Anderson, Clara Williams, Charles Kent (long since gone to the 
reward of a courtly old-school gentleman), Florence Turner and Lottie 
Briscoe. It carries iictionizations of such screen masterpieces as "The 
Love of Chrysanthemum," featuring IMaurice Costello, "A Dixie 
Mother" and "The Perversity of Fate." There is also a page entitled 
"The Wizard of Sound and Sight" which is devoted to Thomas A. 
Edison. In Musings of a Photoplay Philosopher is found the remark, 
"Prurient prudes, feline fossils and sanctimonious sociologists are all 
opposed to the moving picture shows." In Letters From Our Readers 
in our second issue, a gentleman from Columbus, JNIississippi writes, 
"I am glad to see that the one-time prejudice against the much- 
reviled photoplay is dying out." "We believe," says our editorial, 
"that a magazine like this is needed to serve as a memorial to the 
artists, as well as to the art." 

The highlight of that early issue is a poem by Hunter MacCullough, 
dilating on "this new invention": 

"Device so simple, yet with wonder rife, 
Into a picture breathe the breath of life — 
The living present seize and fix for aye 
The unconsidered doings of the day." 

With its small-sized, 
blurred pictures, and quaint 
{Continued o?i page jo) 




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JD 



Where You'll Find the 



*StARS at/7V< 



ay 




By DOROTHY CALHOUN 

SERIES NUMBER 7 
Palm Springs: the desert resort only 
three hours from Hollywood, where 
they like to swim in winter, add to their 
sun-tans, continue their favorite outdoor 
sports, or just rest 



At top, EI Mirador Hotel, 
the oasis of Palm Springs, 
where most of the ro- 
mance rumors about the 
stars start during the 
winter months. Note 
the vivid contrast of the 
scenery — to^vering 
mountains rising from 
the sagebrush and cactus 
of the desert 




In the winter, when the 
stars have those oh-to-get- 
away-from-it-all moods, 
off they go to Palm 
Springs — from which 
they can return in a 
hurry, if their studios 
insist. This story about 
this unique desert resort 
is the seventh in a series 
about the places next- 
door to Hollywood 
where the stars go to be 
just themselves, not 
movie stars. — ^Editor. 



Acme. 

Mickey Riley, Johnny WeissmuUer, Georgia 
Coleman and Eleanor Holm — all Olympic 
swimming champions — play a big dice game between events of 
a swimming meet before the stars at Palm Springs 

56 




Across the center 
of the pages. El 
Mirador's pool. 
In the foreground 
is Hoot Gibson, 
astride "Broom- 
tail," the rubber 
horse tfiat ducks 
all riders. Left 
Joan Blondell 
and George 
Barnes, rumored 
to be her husband 



goi 
the 
f o 



week-end?' 
Laughton 



O U ' R E 

going to 
desert 
r t h e 
' Charles 
asked the 
Richard Arlens in Brit- 
ish bewilderment. "But 
where is there a desert.'' 
Do you mean a desert 
with sand and all that 
sort of thing? How 
jolly uncomfortable!" 
But Mrs. Laughton 
(Elsa Lanchester) was 
in London, getting 
ready to open in a 
stage play; and her 
rotund husband was 
two hundred pounds of 
loneliness, so he went 
with Dick and Jobyna, 
expecting to renew his 
dismal recollections of 





Palm Springs. For several days they made 
their home there in a tiny rented cottage, 
waiting for El Mirador Hotel to open lor the 
winter season. Xow. Jobyna is installed in a 
suite in the hotel, planning to sit in the sun all 
winter to await the stork, while Dick flies 
down from the studio for week-ends. There is 
a possibility that Paramount will utilize the 
grounds of El Mirador for some of the scenes 
of ''Lives of a Bengal Lancer." his new pic- 
ture. Certain!}- no human stage designer could 
create a more colorful setting. 

Behind the main hacienda of El Mirador, 
Mt. San Jacinto rises as steeph' as a mountain 
{Coaliiuicd on page 82) 



. ^ .5^'t; -r.^^.-^- - 



Until 4 p. m., Nancy Carroll may be in 

Hollywood — but sundown often finds 

her in Palm Springs, as above 




Above, Gene Raymond 
(dressed a la cowboy) and 
Claudette Colbert are all 
set to gallop over the sand 
dunes. Left, Richard Ar- 
len and his wife, Jobvna 
Ralston, on an El Mira- 
dor springboard. Jobyna 
is living at Palm 
Springs, and Dick is com- 
muting every week-end, 
while they await their 
blessed event. Below, 

Jimmy Durante gives his 
schnozrle a desert sun-bath 



the Sahara, sand fleas, beggars and moth-eaten 
camels. 

He found fountains gushing from blue vases 
that Maxfield Parrish might have painted, green 
lawns, mosque towers, and purple mountains. 
"He simply didn't believe it!" Jobyna laughs, 
"He swore it was a painted stage set that some- 
body would take down tomorrow. He insisted 
on feeling of the cactus to make sure it was real 
and not a prop I" 

The Arlens have a proprietary- interest in 



57 



The Mayor of 



WHEN you come down 
to New York town, 
you'll find something 
new under the sun. 
The same sun that gilds the city's 
skyscrapers to smoky-golden iri- 
descence, as once it illumined the 
Roman Coliseum and made the 
Grecian Parthenon more splendid. 
For vying with the glory that was 
Rome and with Egypt's ever-last- 
ing Pyramids, New York, the 
mightiest of modem Babylons, has 
reared a structure that will be a 
Mecca for multitudes yet unborn. 
Rockefeller Center, first of the 
Seven Wonders of the New World, 
the architectural triumph of Amer- 
ica, will tower for countless ages as 
a monument to our civiUzation. 
And the heart of the Center is 
Radio City. And the soul of Radio 
City is man's tribute to the motion 
picture, and to that super-show- 
man of the cinema, Samuel Lionel 
Rothafel, just "Roxy" to you — and 
to millions more. And just "Roxy" 
is the name of the frieze-walled 
Numidian marble, gold and bronze 
and bakelite edifice in which Sam- 
uel Rothafel will give of his genius 
in the presentation of motion pic- 
tures. 

You won't be able to miss this 
masterpiece of modernism, for the 
theatre flames with five vertical 
signs each towering fifty feet, while 



Radio City 



BY 

Gruikshank 




New York is learning about 
three new R's — Rockefeller 
Center, Radio City and **Roxy," 
who was born Samuel L. 
Rothafel, of a poor family, and 
has become the world's master 
showman in the world's most 
beautiful theatre. It is, in fact, 
a theatre for the ages — a mon- 
ument to the movies! 



on the marquee are others measur- 
ing five hundred feet in length. 
The ]\Ian from Mars will witness 
the illumination from another 
world, for the Neon creations of 
Mortimer Norden, who made 
Broadway the "Great White 
Way," will blaze to heaven's Milky 
Way as well. The lights blend to 
cover the theatre's surface with a 
variety of color, and on this lumi- 
nous background superimposed by 
indirect lighting, is emblazoned the 
beloved nickname of that Still- 
water, Minnesota, lad who began 
life in the Big City as a Fourteenth 
Street errand boy. Samuel L. 
Rothafel— "Roxy"! 

When you face the six miles of 
light-tubes making legible the 
bronze and aluminum signs, when 
you pass under the satin-finished, 
enameled steel marquee, when you 
first envision the bronze and gold- 
en dignity of the lobbies, pause to 
remem.ber that Samuel Rothafel, 
whose career has made possible 
this monument, began his motion 
picture activity in a vacant store 
fitted with chairs begged, bor- 
rowed, or stolen from the local un- 
dertaker of Forest City, ^Pennsyl- 
vania. Here's a success story in 
bakelite and marble! Here's Am- 
erica! And what has been done 
once, they say, can be done again. 
{Continued on page yz) 



58 




In the lower left corner, you see an architect's drawing of Rockefeller Center and Radio City — a skyscraper temple to the "vocal arts." 
Lower center, the foyer of the new Roxy Theatre (described in the story opposite). Lower right, the auditorium of this "monument 
to the movies" — seating 3,700 with unusual comfort; also, it is the first theatre ever panelled in wood. Upper left, the Roxy's pro- 
jection machines. Upper right, the Roxy's chandelier — largest in the world. Center, Merlin H. Aylesworth, head of NBC (photo 
©Harris & Ewing), who will sponsor "Roxy's" broadcasts; and a view of the Roxy stage, 70 feet high 



59 




^„-««#*°' 




By Faith Service 



PMARY 
ICKFORD 

Starts 

"Secrets'' 

All Over Again 

Two years ago, Mary started a picture 
called "Secrets" — and stopped all work 
on it when it was only half-finished. Now 
she is reviving this story she ''killed" — 
making it over from the beginning. You 
have to know Mary to know why she is 
doing it! 



Mary Tells a Secret 

"All of us should listen to that still, small voice 
within us more than we do. It tells us the truth. I 
Ustened to it when I put 'Secrets' away. I did 
NOT listen to it when I made 'Kiki.' I shall never 
close my ears to it again. 

"If this new production of 'Secrets' should be 
half-finished and if, again, I should find that some- 
thing was lacking, I would do the same thing over 
again. 

"You see, I knew, that other time, almost from 
the beginning, that something was wrong. I couldn't 
quite put my finger on it. Then I came to know 
what was wrong — the mood and the spirit were 
missing. 

"And so, though it broke my heart and, I am 
afraid, the hearts of some of the others, I told them 
we were finished. I felt, that night, that I would 
never make another picture. 

"When I am just beginning a picture, I am en- 
thusiastic. About midway through the picture, I 
begin to remark that the screen is very hard work — 
I wonder if it is worth it. And at the end of the 
picture I firmly announce my intention of immediate 
and permanent retirement." 



PEOPLE have often wondered why Mary Pickford 
stopped production on "Secrets" two years ago. Why 
she called a halt when they were more than midway 
through the story, when there seemed to be every 
element necessary to the making of a superb production. 
Barney Glazer did the script. Marshall Neilan was directing. 
Kenneth MacKenna was leading man. The entire cast was 
more than adequate. Mary was photographing exquisitely. 

60 



What was the matter? Why? 

People are wondering again, 
now, why Mary is making 
"Secrets'" over again; why, 
with all the books and plays 
and stories she owned and has 
to choose from, she goes back 
again to the story she 
"scrapped" two short year? 
ago. 

The real secret of "Secrets" 
is the secret of Mary, herself. 
It is the secret of why she is 
and has always been the 
World's Sweetheart, the un- 
disputed, uncrowned Queen. 
The secret is her idealistic, as 
well as practical, love of her 
profession. The secret is her 
innate desire to give nothing, 
rather than to compromise 
with that still, small voice 
within her. 

"We aU have that inner 
voice," Mary told me, "every 
one of us. It is more than 
woman's instinct. ]\Ien have it, too. We should, all of us, 
listen to that still, small voice within us more than we^do. // 
tells us the truth. I listened to it when I put 'Secrets' away. 
I did NOT listen to it when I made 'Kiki.' I never liked 
that story. I saw nothing in it. I never liked the character. 
I even went so far as to tear the script in pieces one night. 
But I allowed myself to be advised and overruled. I allowed 
{Continued on page 88) 




AS YOU 

DESIRE 

ME 



-^ 6 ■ 



Take a lesson in confidence 

from ''those dear... but younger friends 



A LITTLE hard to admit, isn't it — that you find yourself 
more and more inchned to avoid those younger 
friends — that your skin is fading — that you are shpping 
...just a little? 

Just imagine the great beauty expert, Vincent, of Paris — 
stud}nng your own case. Nine chances in ten he would 
exclaim.. ."But you do not clean your skin properly. Even 
if you come to me for treatment — you must first wash your 
skin thoroughly at home... I cannot perform miracles..." 

Beauty experts— the whole world over— will tell you that 
a skin thoroughly cleansed, twice daily, is the first rule of 
beauty care. But — beware — all too many soaps wash away 
the natural oils — leaving your skin dry, parched, a prey to 
wrinkles and lines . . . while a skin cleansed with PalmoUve 
is not only cleaned but protected against the ravages of time 
and age. Its olive and palm oil lather has a flattering way of 
putting youth into your skin, of keeping it there. 

Make a simple two weeks' test of Palmolive, the soap 
containing olive oil. Follow our directions and see natural 
beauty return to your skin. . .and almost forgotten admir- 
ation return to the eyes that appraise you . . . 



Ivcjei> ;tLu>G5cAxn>^^i/iJ^ So^nJajCc/pdZo^TL/ 



This much Olive Oil 
goes into every cake 
of Palmolive Soap. 




61 



wkick 



ever star 





prese 



notice ner marvelous/y 



SCREEN STARS have such exquisite 
' skin! They know their complexions 
must be lovely if they are to win — and 
hold — hearts by the thousand! "To keep 
youthful charm you must guard complex- 
ion beauty," they declare. "We use Lux 
Toilet Soap!" 

Whichever star you see tonight, notice 
how alluring her smooth skin is. Is your 
skin as lovely — as tempting? Why don't 
you try Hollywood's favorite beauty care 
— use the gentle, inexpensive soap that 



keeps the stars' priceless complexions al- 
ways youthful! 

9 out of 10 Screen Stars use it 

Of the 694 important Hollywood actresses, 
including all stars, actually 686 use Lux 
Toilet Soap regularly. 

For their convenience all the great film 
studios have made it their official soap 
for dressing rooms. Begin today to let 
this fragrant white soap work wonders for 
your complexion! 



V 

Lux Toilet Soap 



62 



you see 



tonidit 




ivutnpil (complexion 




They Know the Secret of Keeping 
Youthful Charm 





SIDNEY FOX 



BETTE DAVIS 
Warner Brothers 



Kay Francis, lovely Warner Brothers' star, has a complexion 
so velvety smooth it actually takes your breath away! "Lovely 
skin is the most endearing charm a girl can have," she says. "It's 
a charm she must have, if she wants to keep her fresh youth- 
fulness. I'm certainly enthusiastic about the way Lux Toilet 
Soap keeps the skin always soft and smooth." 





LORETTA YOUNG 
Warner Brothers 



ARLINE JUDGE 
R. K. 0. 



63 



Whenever Buck 
Jones and "Silver" 
make a personal 
appearance, here's 
how the young- 
sters surround 
them 




Hero 



to Two Million Kids! 

Buck Jones is the one and only star in movie history who has seen two and 
a half million youngsters line up behind him as their idol — and put their 
sentiments in writing. How does the strong-and-silent cowboy explain it? 
By saying that boys are still boys — and Westerns are still the movies that 
give them the adventure and romance they want! 

By Janet burden 



You hear a lot 
of talk these 
days about 
"the Younger 
Generation." Spectacled 
professors shake their 
heads as they talk about 
its complexes and sup- 
pressions. Lank-haired 
young authors write de- 
spairing books to prove 
that Youth has no illu- 
sions left. The general 
impression seems to be 
that boys and girls to- 
day are hell-bent for de- 
struction, with a cynical 
laugh on their hps and a 
bottle of bootleg in their 
hands. To which Buck 
Jones says, succinctly, 
"Phooey!" and has his 
reasons. 

Buck Jones is forty- 
ish, grim-jawed, tight- 
lipped. Of all cowboy 

64 




Buck Jones brings back the good old days 



heroes of the screen, he looks the part most 
completely. He is Diamond Dick, the Hero 
of the Western Plains, in the bronzed flesh. 
Yet he has none of the hearty Western ways 
of the regulation film cowboy. He doesn't 
call you " jNIa'am," or say that he is " rarin' 
to go"; he doesn't wear a handkerchief tied 
about his neck, or wave his hat. He dresses 
conservatively in well-fitting tailor-made 
clothes, and his collar is Bond Street. He 
speaks — when you can get him to speak at 
all — in a soft voice, uses perfect grammar 
and pronounces his "g's." And yet he is 
the cowbo}' of your dreams, the shy knight 
of the saddle whom Owen Wister im- 
mortalized. 

Boys of my generation (which is, em- 
phatically, not the Younger) used to hide 
out in haymows to read of cowboys' ex- 
ploits and plan to run away and ^hoot 
Indians and cattle-rustlers. Now, we are 
told, the gangster is the hero of the modern 
schoolboy, and he dreams of becoming a 
smooth underworld chieftain and riding in a 
bullet-proof car . . . 

{Continued on page gi) 



hold that smile 

-I'd like to sell 

this one to a 

toothpaste maker 





Since Colgate's made my smile worth while 
this picture goes to Colgate's! 

Besides — they've saved me quarters on toothpaste since I was a youngster" 

No tooth preparation — of any kind — at any price — with any 
claims — can clean your teeth better or more safely than Colgate's 
Ribbon Dental Cream. Any dentist will verify this statement. 




This seal signifies that the composition of the prod- 
uct has been submitted to the Council and that the 
claims have been found acceptable to the Council. 



65 



The Picture Parade 

REVIEWS OF THE NEWEST PICTURES 




CALL HER SAVAGE 

Clara Bow Makes a Dazzling Comeback: 
Clara Bow's return to the screen after 
eighteen months is something to see — not 
for the picture's sake, but for Clara's sake. 
Her famous personality is still undimmed 
and, in addition, she has acquired great 
poise and has matured as an actress. What- 
ever you may think, Clara obviously 
thought she was playing in a colorful 
drama — and she gave it her all. 

The story has to do with a fiery, impul- 
sive half-breed girl who disco\'ers that 
blood is thicker than water, after she 
weathers some heartbreaks, along with 
the depression — learning to appreciate 
Gilbert Roland after Monroe Owsle>' 
shows questionable judgment in leaving 
her for Thelma Todd. The whole cast 
does well — even Estelle Taylor, who is 
woefully miscast as Clara's mother. 

But it is Clara who makes it worth see- 
ing — the new Clara who is not a hey-hey 
girl, but magnetic, s\elte and sweet. 




THE KID FROM SPAIN 

Cantor Scores in Zippy Musical: Without 
introducing much that is original or start- 
lingly novel this fast-mo\'ing, gorgeously- 
decoratix'c musical comedy has so many 
claims to your attention they are hard to 
enumerate. Eddie Cantor, as the kid who 
is mistaken for a famous bullfighter, and 
has to live up to the honor, is funnier than 
ever. In several scenes such as the one 
where he gets across the border, and the 
one in which he chloroforms the bull the 
laughter becomes slightly hysterical. 

Lyda Roberti is an eccentric with a 
smashing way of putting a song across. 
The Goldwyn girls li\'e up to all the ad- 
jectives of the hard-working press-agent — 
seldom have so many really beautiful 
girls been seen together on the screen. 
But it is the bull-fighting scenes which 
you will go away talking about. We pre- 
dict a flood of bull fights on the screen 
after these really blood-curdling scenes in 
the ring. Genuinely amusing. 




THE MATCH KING 

Interesting All the Way — Well Acted: 

This story of the fantastic fortune-build- 
ing of a Swedish adventurer parallels the 
recent revelations of the life of Ivar 
Kreuger, the late ]\Iatch King. It is a 
perfect fit for the personality and talents 
of Warren William, who makes the char- 
acter belie\'able, and, withal, somehow 
sympathetic despite his ruthless way with 
friends, loves and finances. 

Lili Damita, as the one sincere love of 
his life, has a Garboish role of an actress 
who "likes to take walks in the rain." In 
clothes, hair dressing and accent she com- 
pares to the Swedish star, but comes out 
ahead in vivacity, youth and gaiety. The 
foreign atmosphere is cleverly created, 
and the whole story smoothly and logic- 
ally told. It is the best thing William has 
done. And you should enjoy him and it. 

Besides being helped by Lili Damita, 
who has ne\er been better, he is ably aided 
by Glenda Farrell and Juliette Compton. 




LAWYER MAN 

Put This Down as Worth Seeing: The 
routine plot of an honest lawyer, who 
suffers defeat from an unscrupulous rival, 
and sets out to beat him at his own 
shyster game, is subordinated to a de- 
lightful series of character sketches of the 
various people who come to him with 
their troubles. There are the chorus girl 
with her soiled love letters, the beggar 
and the street walker. The dialogue be- 
tween the lawyer (smoothly played by 
William Powell) and these waifs of life, 
is delightful. Powell seems favored by 
script writers with good dialogue. 

The resourceful, urbane Powell is given 
the support of a well-written story, and 
the piquant personality of Joan Blondell. 
She plays the secretary who accompanies 
him, up-and-down, in his fortunes. The 
director has handled a new technique 
cleverly, and "Lawyer Man" should be 
on the list of everyone who likes a fin- 
ished picture. 



66 




CYNARA 

Fine Picture — Colman Gives Great Per- 
formance: Ronald Colman gives a badly- 
lighted, but amazingly powerful per- 
formance as the de\'0ted husband who 
finds himself, through almost inevitable 
events, faced with public dishonor for 
causing the suicide of a young girl and 
with the wreckage of his private happi- 
ness. Indeed, it is seldom that an actor is 
brave enough to display as much emotion 
on the screen. 

Kay Francis, as the wife, is beautiful, 
but not quite believable in some of her 
later scenes while Phyllis Barry, as the 
shop girl, seemed to us to get across what 
the faithless husband means when he 
tells his wife, "If you'd seen her, I think 
you would have understood." 

Colman's delicately differentiated at- 
titude toward the two women he loves 
makes the meaning of the old title — "I 
Have Been Faithful" — quite plain. A fine 
picture — one quite apt to bring a tear. 
{More Reviews on page 68) 




THE IL4LF-NAKED TRUTH 

Snappy Fun Here — Lee Tracy Fine: As 

the fast-talking, nimble-witted carnival 
barker who turns high-pressure press- 
agent, Lee Tracy rings the bell again. 
There is no one just like this ner\ous and 
vital chap on the screen. For a man, he is 
extraordinarily graceful with his hands 
and movements. Every scene in which he 
appears is pitched at fast tempo. He can 
make the not-so-funny lines screamingly 
funny by his deli\'ery. 

The plot whirls the press-agent, a car- 
nival dancer (Lupe \'elez) and a strong 
man from a cheap road show to the stage 
of "Merle Farrell's" big time revue by 
sheer personality power. The dancer gets 
the big head, but the press-agent gets his 
revenge on her by making a star of "the 
first woman he sees" — a chambermaid. 
The ending holds a tear for the senti- 
mental. It's funny, and Lee Tracy is 
great. Frank Morgan does a smooth 
parody of the revue producer. 



n 





r\e-rwu 




UNIVERSITY OF BERLIN, on 
the famous Unter den Linden, 
where Dr. Wilhelm Richter 
holds the chair of dermatology. 



both £)/y ofic/ Olli/ Skin 

quickly improved with Woodbury's 



reports L)r.Vvimelm nichter 



HALF- FACE BEAUTY TEST 

The Half-face Test has recently been 
carried to the capitals of Europe — with 
the same astounding results as were 
shown last year in the United States. 

In Berlin a group of women were treated 
under the supervision of Dr. Wilhelm 
Richter, Professor of Dermatology at 
the University of Berlin. His subjects 
were of every social rank — using cos- 
metics of every grade. Dr. Richter said: 

"The lejt side of your face you may con- 
tinue to care for as you wish. The right 
side you will wash every day with this 
soap (Woodbury's). Then we shall have 
proof, on your very cheeks, of which treat- 
ment is most healthful for your skin." 

For thirty days, Dr. Richter and his 
assistants recorded every change in ap- 
pearance of the skin on the right and 
left sides of the test faces. Many had 
the typical sensitive Nordic skin, sub- 
ject to dryness, wrinkles, enlarged pores. 
But a number also had oily, sallow skin. 

Decided Improvement Soon 

The improvement on the Woodbury side 
of the faces amazed the doctor. Espe- 
cially that such widely differing condi- 
tions as dry and oily skin responded to 
the treatment. Aloreover, enlarged pores 
were reduced; blackheads removed; pim- 
ples disappeared; scaliness vanished; 
hnes and wrinkles grew fainter; acne 
improved; even freckles faded! "Ich bin 
erstaunt," declared Dr. Richter, "Es 
freut mich" (I am surprised, delighted). 
And cries of "Herrlich," "W^underbar," 
"Schon," could be heard on the lips of 




Left, COUN-TESS LEXORE STEXBOCK, Berlin society woman and well-known portrait painter. Right, gerby 
GORT, leading German actress of the Berlin Lustspielhaus. Both were amazed that, in the thirty-day 
Half-face Test, Woodbury's Facial Soap so quickly overcame such opposite defects as dry and oily skin. 



the subjects as they gazed at their im- 
proved Woodbury cheeks! But the other 
cheeks, cleansed in the ordinary way, 
remamed the same as before. 

Dr. Richter's report says: "Even after a 
short treatment, a decided improvement 
in the condition of the skin took place. 
The highly favorable results of the 
tests have indisputably proved that 
special advantageous properties must be 




accorded to Woodbury's Facial Soap." 

YOUR skin, too, will respond to W ood- 
bury's Facial Soap. It does more than 
just cleanse; it is a tonic and corrective 
beauty treatment in cake form. It will 
correct blemishes, and do something even 
7nore fundamental. If your skin is oily 
it will check the flow of the oil. If dr\% 
it will stimulate it. You will be over- 
joyed how quickly Woodbury's will make 
your skin normal, healthy, radiant, fine. 



FREE SAMPLE Send this coupon now for 
liberal cake of Woodbury s 
Facial Soap FREE — enough for a week's treatments. Or send 
lo cents to partly cover cost of mailing and receive charming 
week-^nd kit containing generous samples of Woodbury's 
Creams, new Face Powder and Facia! Soap. 

John H. Woodhur>', Inc. 

926Alfred Street, Cincinnati. Ohio 

In Canada, John H. Woodbury, Ltd., Perth, Ontario 



Narru^ 



Street- 
Cily— 



_S(aI<-_ 



I 1933. John H. Woodbury, Inc. 



67 



The Picture Parade 

REVIEWS OF THE NEWEST PICTURES 

(Continued ^rom page 66) 




ME AND MY GAL 

Lively Action Will Keep You Excited: 

Take a dumb, but honest cop, a wise- 
cracking quick-lunch waitress, a paralyzed 
deaf-mute and several gangsters; mix 
them up with a few funny drunks, some 
shooting, and a whole lot of laughs, and 
you have this refreshing, but not very 
important opus. Spencer Tracy, as the 
waterfront cop, promoted to be a detec- 
tive, handles his rough-and-ready part 
with gusto, and Joan Bennett is better 
than she has been for a long time while 
in her role as the lunch-room girl who 
engages her wits in a battle with a trio of 
gangsters who have her sister in their 
power. 

Henry Walthall is memorable as the 
paralyzed mute father of the two girls 
who signals the hiding place of the es- 
caped thief by winking his eyes. The 
action and dialogue are both lively and 
you won't fall asleep during the picture. 
The sister is'newconier Marion Burns. 




PROSPERITY 

Dressier Deserves the Very ' Best: When 
Marie Dressier is nominated — and justly 
— two times for the highest honors the 
motion picture world can give an actress, 
it seems the height of absurdity, or the 
depth of depravity to force her to mug 
and mouth such silliness. The great 
economic principle involved in the title 
seems to be that prosperity will come 
back if people exchange services, the shoe- 
maker patching the tailor's shoes in return 
for a new seat to his pants. 

The humorous highlight of the plot is 
when Marie, intending to commit suicide 
so that her life insurance may save a bank, 
takes castor oil by mistake. If you think 
the consequences of such a mistake are 
funny, then you will laugh heartily at the 
ending of the picture where the heroine, 
appearing on a balcony to answer the 
cheers of her fellow citizens, disappears 
precipitately. Polly Moran, co-starring 
with Marie, adds to the gayety. 




CENTRAL PARK 

Cross Section of Life in Park — Entertain- 
ing: Here we nave more Americana, util- 
izing every phase of the most famous 
metropolitan park in the world, from the 
Zoo to the Casino, from the bypaths to 
the sheep meadows. Its characters, except 
for a few exceptions, are merely the 
patrons of the park, nursemaids, police- 
men, riders on the bridle paths, tramps on 
the benches. Within the peaceful confines 
of the park's iron fences a brutal, thrilling 
and intensely metropolitan little drama is 
enacted, a la "Grand Hotel." 

A girl and a boy out of work, meet and 
share a stolen hot dog early one morning. 
Before night they have been drawn into a 
gangster's plot to rob a charity ball at the 
Casino, have been arrested, and have 
fallen in love. A madman has attacked a 
keeper at the zoo, a lion has escaped and 
a policeman has been killed. But by 
another dawn the Park goes its way as 
though nothing had occurred. Excellent. 




UNDERCOVER MAN 

Plenty of Excitement for Your Money: 
Here is one of the best gangster pictures 
in a year filled with them. It is a distinct 
triumph for the scenario writer to have 
found a new angle from which to approach 
the underworld, that of the stool pigeon, 
the undercover man who risks his life to 
get evidence to convict the most slippery 
of all criminals, the gangster. 

As that unsung hero, George Raft, with 
his poker face and suave manner, is 
excellent. This boy can act. He is getting 
better with each picture. Nancy Carroll, 
as the girl who joins wits with him to get 
the murderers of her brother, lifts a 
routine part into a characterization. She's 
on her way to stardom again. 

The situations with the continual men- 
ace of the gangster's suspicion hanging 
over the two is tense from beginning to 
end, with continual crises and hairbreadth 
escapes. You couldn't buy more excite- 
ment for your money. 




ROCICABYE 

Connie's Latest Just Misses the Mark: 

All the good theatrical devices, warranted 
to tear the heartstrings, have been utilized 
by the scenario writer and the director 
toward making this picture click. Connie 
Bennett looks resplendent and sophis- 
ticated, and Jobyna Howland is delightful 
as the inebriated mother, yet somehow 
the picture doesn't quite jell. 

Taken apart, it contains exquisite scenes, 
especially those involving the baby, a 
beautiful and quaint little creature named 
Joan Filmer. There are nice bits between 
Paul Lukas, as the manager, and the 
heroine. There are plenty of laughs and 
several involuntary tears (the rest are 
openly asked for). 

Yet, taken as a whole, the grief of the 
heroine at losing the child she was going 
to adopt and her nobility in renouncing 
the innocent young playwright (Joel 
McCrea) leaves one a bit cold and a trifle 
exasperated. 




IF I HAD A MILLION 

Novel and Different and Worth Seeing: 
This novelty in the line of cinema enter- 
tainment is chiefly praiseworthy for being 
just that. Someone had a good idea, but 
too many directors, stars and writers 
spoiled the broth. Yet we look to see this 
followed by other episodic pictures in 
which the lives of many different groups 
are depicted with a single fact to join 
them. In this case the joining fact is the 
whim of an eccentric millionaire to dis- 
pose of his fortune before he dies. 

He picks at random eight strange names 
from the city directory and gives each a 
million dollars — a prostitute (played by 
Wynne Gibson), a forger (George Raft), 
an old burlesque actress, a condemned 
murderer (Gene Raymond), a bookkeeper 
(Charles Laughton), whose bit is the 
shortest and by far the most striking, a hen- 
pecked clerk (Charles Ruggles), an old 
lady in a Home (Mae Robson), and a trio 
of gobs (Gary Cooper among them). 



68 



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Top, Cheva- 
lier wires 
compliments. 
Above and 
at right, 
kind words 
from Flor- 
ence Turner 
and Ruth 
Roland, two 
of Yester- 
day's great 
favorites 



Motion Picture Celebrates 
Its 22nd Birthday 

{Continued from page ^^) 

comments on the " Pictureshow," this twenty- 
two-year-ago number of Motion Picture 
Magazine is a far cry from the modern artistic 
magazine you are reading! 

Motion Picture Magazine feels that it has 
played a vital part in helping to create the per- 
sonalities of the screen and making their names, 
faces, lives, known on all six continents of the 
globe. 

We originated the formula which all other 
screen magazines have followed since, dividing 
our space into a portrait gallery, gossip depart- 
ments, interviews, previews and answers to cor- 
respondents. We have always tried to think just 
a little ahead of developments, and to anticipate 
them in the pages of the Magazine. When, after 
years of orthodox publicity, the public taste 
showed that it was ready for stronger fare, we 
instigated the new era of Truth and Honesty in 
writing of screen personalities — with the help of 
John Gilbert, who eight years ago gave us his 
real life-story, saying bitterly, "I'm sick of read- 
ing sentimental lies. If you use my life story, 
you'll use it as it ivas." 

Consternation followed this rank innovation in 
screen magazine material. His studio tried ta 
buy up the entire edition before it was distributed 
publicly. His friends warned John that he was 
through. He received five thousand letters from 
Jans about this story, all sympathetic. 

Motion Picture Magazine rushed to demand 
that "Scarface," the victim of politics, should be 
released on every screen. We urged the reinstate- 
ment of Roscoe Arbuckle, who is now making his 



Rudolph Valentino 
often used to drop in at 
our office. Later we 
fought for a memorial 
for him 




Florence Turner was 
one of our first star 
"discoveries" — being 
presented in our very 
first issue 




When the late John 
Bunny left the stage to 
become the first screen 
comic, we, alone, 
praised his step 




Not everyone can re- 
member when Gloria 
Swanson looked like 
this — but ^ve've known 
her from the start 



first comedy after ten years' exile from the 
screen. We playfully promoted Will Rogers 
for President, and are proud of our nominee. 

We are still in the business of building 
stars. For the last year we have been Nom- 
inating Newcomers for Stardom. 

We have always found the time to think 
of the larger aspects of the industry, calling 
attention to the fact that X'alentino, our 
old friend and the Greatest Lover of them 
all, was lying in a borrowed grave; bringing 
to light the plight of early favorites fallen 
on hard times; fighting against unjust cen- 
sorship; telling what has become of the 
stars who have vanished; and always 
jealously protecting the screen's most pre- 
cious gifts to a workaday world — Glamour, 
Illusion, Romance. 

It is a long life that we look back upon. 
In these twenty-two years, the face of the 
globe has changed. Thrones have been over- 
turned. Great favorites of the screen have 
risen — and disappeared. A clap-trap amuse- 
ment device to catch nickels has become an 
immense industry. The outward appear- 
ance of MoTiOM Picture Magazine has 
changed with the fashions, but its spirit is 
the same as when it started, and before it 
moved from a brownstone house in Brook- 
lyn to a suite of ofifices on Broadway. 

Our eyes are just a bit misty as we read 
our birthday mail. Some of the letters are 
from old friends we have known for many 
years, some from recent friends. We are 
proud of them all. And their messages of 
love and affection make us a bit proud of 
ourselves, too! 



Right, Lois 
Wilson re- 
minds us 
how long we 
have been 
friends. 
Belo w , Ja- 
net Gaynor 
wires her 
best wishes, 
and Anna 
Q. Nilsson 
has a happy 
thought 



Lo^s V''i.soii 










70 



College Girls 



znone- 




'^iT 







cut down Stocking Runs'^^ 



"I washed one stocking every 
clay the Lux way — the other 
I ruhbed with cake soap . . . 
See the run in the cake-soap 
stocking! The Lux stocking is 
like new. Nothing but Lux for 
our stockings from now on, 
we girls all say." 



ffO^ 



p^ 



A GROUP OF COLLEGE GIRLS got to- 
gether recently on a test of stocking wear. 

The "One-Leg Test" they call it, because 
one stocking was washed every night the 
Lux way — the other rubbed with cake soap. 

They reported amazing results! 75% 
jewer runs in the Lux-washed stockings 
than in the stockings labeled "Cake Soap." 

Cake-soap rubbing destroys the elasticity 
of the silk. This is the live, stretchable qual- 
ity of silk which makes it wear. Lux is made 
to preserve this vital elasticity. That's why 
clever girls save their stockings by washing 
them the 2-minute Lux way each night. 



"Vi'E GIRLS were a-niully keen about this 
test,"' says Miss Siieerin, "because it showed 
us how many stocking runs you can avoid by 
■washing your stockings the right way. In the 
test, we each took a pair, labeled one stock- 
ing Lux, the other, cake soap. 



"E\TERY NIGHT we Luxed one stocking 
— rubbed the other with cake soap. There 
were 7o% fewer runs in the Lux stockings! 



"THAT'S WHY we all use Lux now-it's 
such an easy way to cut down stocking bills. 
It takes only 2 minutes, and when you save 
elasticity with Lux, stockings not only wear 
better but fit better. Keep their color and 
look smoother, too." 



Mrs. H. N. Aikens 

washed 468 pieces 

with only one box 

of LUX 



48 pairs 


126 pairs socks 


silk stockings 


66 pieces 


51 pieces silk 


table linen 


lingerie 


120 hand- 


18 silk pajamas 


kerchiefs 


36 children's 


3 sweaters 


undies 


(baby's) 



IjUX Jo^^ d&CKma 




71 



QUICK, PURE SUDS 
in lukev\^arm water 



%* 



keep baby s ''undies" 
soft as down 



Could anything be a surer test of 
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shirts! Washed every day, yet they 
must not shrink and stiffen . . . they 
must not hold any harsh irritant to 
harm baby's skin! Try Ivory Snow 
for baby's washing. See what beau- 
tiful pure suds you get instantly in 
LUKEWARM WATER. See how 
soft and sweet and comfortable they 
keep baby's clothes. 

Ivory Snow is a new, improved 
kind of soap for fine fabrics— made to 
dissolve without hot water. You can 
start with the lukewarm water that 
is SAFE for silks and wools and 
colors. For Ivory Snow is not cut 
into flat flakes, but BLOWN fine as 
drift-snow. It melts like snow, yet 
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rich, smooth, pure Ivory suds. You'll 
have no trouble rinsing Ivory Snow 
— no trouble with soap spots — 
because it dissolves thoroughly. It 



99"/,,% PURE 



Copr. 1933. Procter & Gamble Co. 



has no flat pieces that can stick to 
fabrics. 

You will like Ivory Snow for speedy 
dishwashing, too. It keeps your 
hands young and fair, without ex- 
travagance, for a whopping big 
package costs only 15j*! At your 
grocer's. 

Makers of fine fabrics 
praise IVORY SNOW 

After thorough washing tests, Mal- 
linson, Cheney Brothers and Truhu 
call Ivory Snow "a perfect soap 
for silks." "Ideal for woolens," 

say the weavers of fine Biltmore 
Handwoven Homespuns, the makers 
of downy Mariposa blankets, and the 
Botany Worsted Mills. 



C^, 



:.^ 



The Mayor of Radio 
City— "Roxy" 



(Continued from page sS) 

Thus "Roxy," and his theatre, and Radio 
City, and Rockefeller Center, should be 
super-inspirational to every one of the mil- 
lions who will pass through those four double 
doors on Sixth Avenue into the world's 
finest motion picture theatre. 

A Monument to Achievement 

IN those days Sam Rothafel never dreamed 
of the solid bronze box-offices that now 
ornament his theatre. Nor of mirrored, 
frescoed walls. Nor of the series of terraced 
le\els of yellow marble over which a foun- 
tain, masked in foliage, cascades in shim- 
mering loveliness. And one wonders now 
what thoughts were his when, for the first 
time, he stood on the East side of his thea- 
tre's lobby and peered through the vast win- 
dow, ceiling high, to envision the first mez- 
zanine foyer on the first rise of the winding 
staircase. And from that mezzanine looked 
down on the lobby with its multiplied and 
reflected panels of light, the playing foun- 
tain illumined by changing colors, the rich 
walls of marble charming the eye upward 
to foliated patterns of gold, and even the 
floors, harmonizing with the walls in geo- 
metric patterns of black, brown and gold. 

Perhaps in that flash he saw the New 
York errand boy, the house-to-house book 
agent, the sturdy Marine, who for seven 
years wore the uniform of Uncle Sam, the 
struggling showman in his vacant store filled 
with undertaker's chairs. Perhaps he re- 
membered the bitter days of privation and 
hardship, of hope and heartache. If so, that 
moment must have been very sweet, indeed. 

But it doesn't require the seven-ton chan- 
delier in the "Roxy," with its 104,000 watts 
of electricity, its four hundred floodlights, 
its four miles of wiring, to focus attention on 
Samuel Rothafel. He is no New York mush- 
room growth, springing from Nowhere to 
Broadway and back to Oblivion again in a 
single night. His story is that of a slow and 
steady rise, each step of which was prepara- 
tion for the next. 

From the lowly ladder-rung in Forest City, 
he advanced to slightly loftier positions in 
Minneapolis, in Milwaukee, and finally, in 
1913, in New York. It was then that he 
gave very definite demonstration of his the- 
atrical genius, for he evolved the thought of 
introducing the motion picture with an ap- 
propriate stage prologue, and surrounding 
it with grouped divertissements. When the 
Strand Theatre, then the largest film play- 
house in the world, threw'open its doors, no 
wonder Sam Rothafel was drafted to bring 
his new idea to Broadway. Subsequently, 
he moved along to the Rialto, the Rivoli and 
the Capitol Theatres. 

Was a Radio Pioneer 

TEN years ago this month, he inaugu- 
rated radio broadcasting from a motion 
picture theatre, and thereafter "Roxy's 
Gang" of aerial artists brought happiness 
to millions via the air-waves. From far 
places blessings were showered upon him 
for carrying song and music and laughter 
where they were sorely needed. His nick- 
name became a byword throughout the land, 
and when, finally, in 1927, William Fox 
called him to manage his new theatre and 
gave it the name of "Roxy," he brought the 
theatre a million friends. Friends that re- 
main loyal to the name of "Roxy." This 
theatre, seating more than six thousand, 
was of luxurious Moorish architecture. Its 
name, incidentally, will now have to be 
changed, it is said — since, 'when he left it, he 
took along the right to the name "Roxy." 

So from those Forest City days, and even 
earlier ones, he trod the path of progress, 



72 



until now he reaches what seems to be the 
zenith of his career — an epic of American 
accomplishment. As "Mayor of Radio City," 
the erstwhile errand boy has under his per- 
sonal direction, not only a sound cinema 
that is the last, the final, the ultimate word 
in motion picture theatres, but also the In- 
ternational Music Hall, the largest and most 
perfectly appointed playhouse in the world. 
Although the motion picture theatre seats 
an audience of 3,700 persons, "Roxy" has 
managed to maintain that homey, intimate 
feeling that has always distinguished him in 
his contacts with the public. And to do so, 
he has again attained the unusual. For his 
theatre's interior is entirely of wood — the 
first time such construction has been accom- 
plished. Somehow the soft, warm mahogany- 
creates the feeling that for all its three mez- 
zanines, the guest is in "Roxy's" own draw- 
ing-room. It is interesting to see how this 
wooden construction has been accomplished, 
for it seems an impossible task. The secret 
is that the mahogany is cemented to a spe- 
cial metal and applied directly to the brick 
wall. The paneling rises sixty feet. 

His Tribute to Womanhood 

OF" the various murals, panels, friezes and 
similar decorati^•e features, one of the 
most interesting is that which may be taken 
as "Roxy's" gracious gesture to American 
womanhood. The showman's tribute to fem- 
inine accomplishment is an illuminated glass 
mural, six feet high, eighteen feet wide, rep- 
resenting Amelia Earhart's solo flight over 
the Atlantic. Appropriately, it dominates 
the Women's Lounge. The mural was cre- 
ated by a new method in which vari-colored 
glazes are air-brushed upon clear glass, and 
then fused at a temperature of 1200 degrees 
Fahrenheit. On the left is shown New York's 
skyline, on the right is a lighthouse on the 
Irish coast. Curved and straight lines indi- 
cate the sky, and there, high above conven- 
tionalized waves, flies "Lady Lindy." 

Almost like a cathedral, the theatre boasts 
other "bays." In the Grand Lounge there is 
a panel entitled "Sports," in which scenes 
of fishing, golfing, hunting, bathing, boat- 
ing, tennis, racing, and half-dozen other Am- 
erican activities are skillfull}' blended in 
splendid pictorial composition. This panel, 
like almost everything in the theatre, was 
made by a new process in mural decoration. 

The most impressive of the decorati\'e 
metal plaques, forming a part of the exten- 
sive ornamentation of the theatre, is the 
brilliantly colored metal and enamel piece 
eighteen feet wide and thirty-five feet long, 
showing radio and television encompassing 
the earth. Television, you'll note! One 
speculates on just how long it will be before 
those "motion pictures of the future" be- 
come entertainment facts within the grasp 
of the multitude, as our own movies and 
radio are to-day. 

Meantime, it is no more possible to de- 
scribe the playhouse in cold type than it 
would be to conjure up the loveliness of the 
rare gems piled in glamourous array among 
the Crown Jewels in the Tower of London 
by reading a catalog. It was Samuel Rotha- 
fel's purpose to create a theatre for the mo- 
tion picture that would mark a radical de- 
parture from the ornate "palace" that has 
become all too usual. He has been able to 
create from a chaos of steel, gold, silver, ma- 
hogany, chromium, bakelite, bronze, brick 
and glass, a thing of rich, warm, restful 
beauty. Restrained, yet modern. Colorful, 
yet simple. 

Yes, surely, when you come down to New 
York town, you'll find something new under 
the sun. New, yet built for the ages. Rocke- 
feller Center, wonder of the world, with Ra- 
dio City for its heart, and "Roxy" for its 
soul. A monument to Americanism. A suc- 
cess story in marble. The gift to the multi- 
tudes from Samuel Lionel Rothafel, the 
Stillwater, Minnesota, boy who made good 
in the Big City! 



no revealing outlines . . . 
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73 



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Tip-Offs On The Talkies 

What They re About — And How Good They Are 
By J. E. R. 



Afraid to Talk — Another high-tension expose pic- 
ture — with the third degree and gangsters in politics 
the subjects, and Eric Linden and Sidney Fox the 
dramatic young victims of both (Univ.). 

Air Mail — An aviation thriller that is a thriller, 
featuring Ralph Bellamy and Pat O'Brien as a couple 
of daredevil rivals, who forget their battles when 
"the mail has to go through" (Univ.). 

Amazon Head Hunters — Startlingly unusual 
travelogue, jammed with action — and with a theme 
that competes nobly with the best of the horror pic- 
tures. Filmed by the Marquis de Wavrin's expedi- 
tion up the Amazon (Principal). 

The Big Broadcast — ^.\ comedy romance revolving 
around Biiig Crosby, Stuart Erwin and a radio 
station, where many of the radio stars of the day do 
their well-known stuff. Amusing, but it drags a 
bit (Par.). 

Tlie Big Stampede — Warner Brothers, going in for 
Westerns and developing John Wayne as a star, 
present him in a good routine ranch drama, with a 
spectacular stampede for its highlight (W.B.). 

Blame the Woman — .\n English-made comedy, 
featuring Adolphe Menjou and Claude .\llister as a 
couple of smooth crooks who are outwitted at their 
own game by pretty Benita Hume. Clicks at in- 
tervals (Principal). 

Breach of Promise — Mae Clarke sues Chester 
Morris, candidate for Senator, for breach of promise 
— and the developments are both unusual and dra- 
matic, with an ending out of the ordinary (World 
Wide). 

Cabin in the Cotton — Richard Barthelmess, still 
playing a po' white boy, doesn't know whether he 
wants to become rich or not — or whether he wants 
poor Dorothy .Jordan or wealthy Bette Davis. It 
never attains suspense, somehow (F.N.). 

The Conquerors — An ambitious panorama of 
American life, on the order of "Cimarron," detailing 
the courage of two t.\-pical Americans — Richard Dix 
and Ann Harding — in a series of national crises. 
Dramatic and colorful (RKO). 

Evenings for Sale — A fluffy romantic comedy about 
a gigolo (Herbert Marshall) who wins cute Sari 
Maritza after he gets a new job. If it weren't for 
the clever Marshall and Maritza, it wouldn't be 
much (Par.). 

Faithless— Tallulah Bankhead, still "The Mis- 
understood Wife," proves to the satisfaction of 
Robert Montgomery and everyone else that she 
loves him — even if there is a depression. Well-acted, 
but a bit sordid (M-G-M). 

False Faces — Don't have your face lifted until you 
see Lowell Sherman in this deft expose of a plastic 
surgeon who is working a racket on feminine vanity. 
It packs a punch (World Wide). 

The Girl from Calgary — Fifi Dorsay, playing a 
peppy French-Canadian (which she realh' is), finds 
fame as a showgirl and then learns that fame isn't 
everything. Skims the surface of emotions (Mono- 
gram). 

The Golden West — George O'Brien, first believing 
he is an Indian, fights on their side; then, learning 
differently, he fights against them. .\u elaborate, 
fast-moving Zane Grey Western (Fox). 

He Learned about Women — Good, clean fun. in 
which Stuart Ern-in, as a millionaire bookworm, 
hires Alison Skipworth and Susan Fleming to teach 
him the ways of the world. Marie Dressier had 
better watch out for Alison Skipworth (Par.). 

Her Mad Night — Ktx implausible melodrama on the 
mother-love theme, with Irene Rich willingly heading 
for the electric chair for a shooting her daughter 
(Mary Carlisle) committed (Mayfair). 

Hot Saturday — Nancy Carroll has to battle a 
scandal after spending an innocent afternoon with 
that man-about-town. Cary Grant. An old story is 
given a new lease on life (Par.). 

I Am a Fugitive from a Chain Gang — ^One of the 
most powerful pictures ever produced, with Paul 
Muni a victim not only of a miscarriage of justice, 
but of a brutal prison system. It will put you on the 
edge of your seat and wring your heart out, besides 
(W.B.). 

Kameradschaft ("Comradeship")— A powerful 
German picture with English subtitles — about a 
disaster in a French mine near the German border, 
and the rescue efforts by the formerly hostile Ger- 
mans. The suspense is terrific, the photography 
spectacular (."Vss. Cinemas). 



Kongo — Walter Huston, as a crippled, bitter mad- 
man, frightens Virginia Bruce and some cannibals, 
with only Lupe Velez to cheer him. .^ would-be 
horror picture, in which there's more hokum than 
horror (M-G-M). 

Little Orphan Annie — ^The famous comic-strip 
youngster comes to life on the screen in the person 
of a platinum-haired Mitzi Green, who has cute little 
Buster Phelps and crotchety May Robson to help 
her. The youngsters should go for it in a big way 
(RKO). 

Maedchen in Uniform ("Girls in Uniform") — A 
German talkie with English subtitles — -and one of 
the year's best in any language. .\ tense, very real 
and memorable study of young girls — particularly 
one motherless girl — in a strict Prussian academy 
(Krinisky-Cochran). 

Magic Night — ^Jack Buchanan, who was Jeanette 
MacDonald's leading man in "Monte Carlo," more 
or less wastes his talents on an English-made musical 
romance laid in the Vienna of 1914 (U.A.). 

Man Against Woman — .Jack Holt, as a private 
detective whose specialty is shadowing indiscriminate 
women, meets his match in newcomer Lillian Miles. 
Good melodrama (Col.). 

Manhattan Tower — K tangle of melodramatic life 
in a skyscraper, featuring Mary Brian, Irene Rich, 
James Hall and Hale Hamilton. A faint echo of 
".\merican Madness" and "Skyscraper Souls" 
(Remington). 

The Mask of Fu Manchu — ^.\ horror picture par 
excellence, Oriental variety — with slant-eyed Myrna 
Loy luring young men like Charles Starrett into 
torture chambers presided over by Boris Karloff, 
who wears a mask of Oriental make-up (M-G-M). 

Men of America — When racketeers go a bit too far. 
Bill Boyd and Chic Sale take the law in their own 
hands, as the pioneers used to do. Melodrama with 
a capital "M," and a healthy dash of comedy (RKO). 

The Monkey's Paw — Whoever owns this sinister 
paw will be granted three wishes, but each will be 
accompanied by disaster. A horror tale with an 
ending that lets you down, featuring Bramwell 
Fletcher and C. Aubrey Smith (RKO). 

Night After Night — George Raft attains stardom 
in a peppy, but otherwise conmionplace gangster 
picture, in which George runs a speakeasy and falls 
in love with a society girl (Constance Cummings). 
Newcomer Mae West almost steals the picture 
(Par.). 

No More Orchids — The orchidaceous Carole Lom- 
bard plays a rich girl who wants to marry a poor boy 
(Lyle Talbot) instead of a prince (Jameson 'Thomas) 
— and the happenings are gayer and more suspense- 
ful than you'd expect (Col.). 

The Old Dark House — .\ night in a house of horror, 
presided over by a mysterious old lady and her 
hideous deaf-mute butler, who happens to be Boris 
Karloff. Guaranteed to raise gooseflesh (Univ.). 

One-Way Passage — A fugitive murderer (William 
Powell) and a society girl with heart trouble (Kay 
Francis) keep death waiting while they find love. 
k poignant love story, beautifully acted, and marred 
only by a little too much side comedy (W.B.). 

Payment Deferred — Something new in horror tales, 
being a graphic insight into the horror of conscience, 
with sensational Charles Laughton as the unde- 
tected murderer. A picture you'll remember 
(M-G-M). 

Penguin Pool Murder — Murder mystery in an 
aquarium, which is solved by eccentric Edna May 
Oliver and hard-boiled James Gleason. Their comedy 
makes up for the lack of suspense in this uncanny 
film (RKO). 

Rackety Rax — Gangster Victor McLaglen buys a 
bankrupt college so that his gang can have a place to 
sleep and play football. Deliriously rough satire of 
college football, but not so delirious as the book 
(Fox). 

Rain — Sadie Thompson again meets the missionary 
whose passion for religion is something else in dis- 
guise. The story, now familiar, lacks suspense, and 
Joan Crawford, though vivid, just isn't Sadie, some- 
how. W'alter Huston steals the picture (U..\.). 

Red Dust — Clark Gable has "menace" again as an 
engineer in Indo-China who goes after another man's 
wife (Mary .\stor), and Jean Harlow steps into a 
boisterous role as the girl who gets in hia way. Rap- 
id-fire comedy drama, with Jean galloping away with 
the picture (M-G-M). 



74 



Scarlet Dawn — Douglas Fairbanks, Jr., a young 
nobleman, marries a peasant (Nancy Carroll) and 
escapes from the Soviets in a melodrama that has 
suspense and a memorable ending (W.B.). 

Sherlock Holmes — They've modernized good, old 
Sherlock and made the crimes he solves both modern 
and high-powered, with a result that is highly satis- 
factory. Clive Brook is an excellent Sherlock, 
Ernest Torrence an exciting villain (Fox). 

The Sign of the Cross — Cecil De Mille's version of 
the downfall of Rome under Nero and the rise of 
Christianity. .Melodrama on a spectacular scale, 
boasting such stellar lights as Fredric March, 
Claudette Colbert, Elissa Landi and Charles Laugh- 
ton, who steals another picture (Par.). 

Silver Dollar — Edward G. Robinson's best picture 
— a colorful, vivid drama of a pioneer who found 
power in the magic metal, silver, and then lost it. He 
has two leading women — .\line MacMahon and Bebe 
Daniels (F.N.). 

Six Hours to Live — Fantastic and unusual melo- 
drama, in which Warner Baxter, like the Biblical 
Lazarus, is briefly brought back from the dead — and 
straightens out some interesting tangles. Baxter is 
so convincing it almost seems possible (Fox). 

Speed Demon — William CoUier, Jr., takes up 
speedboat racing in an action thriller that is built 
along the lines of a serial. The youngsters will prob- 
ably eat it up (Col.). 

Sport Parade — After graduating, Joel McCrea de- 
cides to cash in on his college football fame and 
touches the fringes of racketeering, even trying to 
steal Marian Marsh away from his pal, William 
Gargan. MUd melodrama (RKO). 

Strange Interlude — Eugene O'Neills powerful 
stud}' of a woman whose ideals get in the way of her 
happiness loses some of its ironic force on the screen 
— but it stiU is unusual. Norma Shearer and Clark 
Gable are the frustrated lovers (M-G-M). 

Tess of the Storm Country — The talkie version of 
Mary Pickford's great hit, with Janet Gaynor as the 
fiery, but sweet girl who risks losing the love of the 
rich man's son (Charles Farrell). Good, old-fash- 
ioned romance (Fox). 

They Call It Sin — Loretta Young travels from a 
smaU town to a big city and almost lets the city's 
whirl cheat her of real romance. A letdown for 
Loretta after "Life Begins" (F.N.). 

Three on a Match — Three school chums — Ann 
Dvorak, Joan Blondell and Bette Davis — meet 
again after ten years, with Warren William the 
magnet. Good melodrama, with Dvorak arousing 
your emotions (F.N.). 

Too Busy to Work — As Juhilo, a tramp. Will 
Rogers is too busy looking for the man who stole his 
wife to think of work. A homely, human comedy 
drama — with Will not talking politics at all (Fox). 

Trailing the Killer — The newest animal thriller — • 
with an amazing wolf-dog tracking down the panther- 
murderer of a rancher's sheep. You won't forget 
the fight between the two, or the dog's battle with 
a big snake (World Wide). 

Trouble in Paradise — A brilliant, scintillating 
Lubitsch comedy about a romantic triangle that 
consists of a suave crook (Herbert Marshall), his 
pickpocket sweetheart (Miriam Hopkins), and the 
wealthy widow who hires him as a secretary (Kay 
Francis). Just the thing for that frivolous mood 
(Par.). 

The Unwritten Law — A hodge-podge of murder- 
mystery melodrama, with Hollywood as its setting. 
Hard to take seriously, even with Lew Cody, Skeets 
Gallagher and Mary Brian in the cast (Majestic). 

Uptown New York — A colorful little dramatic 
comedy laid in New York (for no special reason), re- 
volving around Jack Oakie as a brightly ambitious 
lad who is dumb about love. Some good situations, 
and some good comedy (World Wide). 

Washington Merry-Go-Round — It lifts the lid 
off the slightly soiled game of politics — showing the 
almost futile efforts of a somewhat dumb, but honest 
Congressman (Lee Tracy) to remain honest. Bit- 
ingly amusing melodrama, with Tracy plus perfect 
(Col.). 

With Williamson under the Sea — A pictorial 
novelty in|which a famous explorer takes you down 
to the bottom of the sea, where strange creatures 
live and battle. More educational than dramatic 
(Principal). 

You Said a Mouthful — One of Joe E. Brown's 
funniest — in which he is mistaken for a famous 
swimmer, and is forced into a big meet, though 
deathly afraid of the water. Go prepared to get 
hysterical. Farina, of "Our Gang" fame, is also a 
big help (F.N.) . 




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PEPSODENT ANTISEPTIC is 3 times as powerful 
as other leading mouth antiseptics. Hence it goes 3 
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You may be trying to save money. 
But instead of saving it you're losing 
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tween the two kinds of mouth antiseptics 
on the market. One kind must be used 
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Pepsodent CAN be diluted 

But the other kind — Pepsodent Antiseptic 
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The amazing result 


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Cuts and 


Head Colds 


Abrasions 


Smoker's Throat 


Chapped Hands 


Bad Breath 


Dandruff 


Mouth Irritations 


Skin Irritations 


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Perspiration Odor 


After Extractions 


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Tired, Aching Feet 



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75 




tt 



OH PROMISE ME 



)» 




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The Hollywood Frivolities of 1932 

{Continued jrom page 2g) 



The "engagement" rumors about James 
Dunn, and the girls who shyly admitted 
them. 

George M. Cohan's broadside at Holly- 
wood upon his return to New York. 

The romance rumors about Prince von 
und zu Lichtenstein and several screen 
sirens. 

The glorious folly of Arline Judge, Helen 
Twelvetrees and others in interrupting 
their careers to ha\'e children. 

Oh, for a Good Old Divorce! 

THE folly of all these friendly Reno- 
vations. This is carrying civilization 
too far. We are all for a good old-fashioned 
"row" with opprobrious epithets and red 
recriminations and a fight that rings 'round 
the world. George Bernard .Shaw once 
said that to strike a child in good temper and 
cold blood should be neither forgiven nor 
forgotten by the offended child. We feel 
that way about divorces. 

The folly of Buster Keaton's giving 
Natalie Talmadge a >'acht. They had a 
quarrel aboard it, and she sold it and got a 
divorce. 

Buster Keaton buying a "land yacht" 
(a luxurious $50,000 bus) and dressing as an 
admiral. 

Lita Grey Chaplin's folly in attempting 
to place her very small sons on the \ery 
large screen. WH\'? They ha\e their 
bread buttered and their kiddie-kars 
bought and paid for. Let them play, not 
work, says Chaplin — and the papas and 
mamas of Hollywood who can afford to do 
so, agree. 

Yes, the folly of aU movie mothers with 
little, precocious Edgars and Edwinas 
bringing home the bacon. 

The folly of the censors in trying to sup- 
press "Scarface." 

The Goldwyn-Colman legal fisticuffs, if 
any. Hard to determine as to where the 
frivolity lies — on Sam's doorstep or Ron- 
nie's. Probably belongs in the patio of the 
publicity gentleman who let his fountain 
pen elope with his good judgment. 

"Freaks" — that picture that was sadder 
than a funeral oration and more morbid 
than a murder-mob or a ghoul's livelihood. 
\\'orse than folly. I calls it. to exploit the 
too-real abnormalities of the Potter's shak- 
ing hand. 

Those Funny Economy Waves 

THE Great Economy Wa\e which oper- 
ated, in one instance, by the reduction 
of stenographers' salaries by se\en cents a 
week. This in one of the major studios. 

The Great Economy Wave which passes 
right over the follies of such producers as 
the one who ordered a well-known writer to 
do a script, paid him $68,000 for the job, 
and then forgot to file the script or to pay 
any further attention to it. 

Lilyan Tashman's straw evening coat. 
I mean, will they be wearing fish-scale thing- 
umbobs next? 

Lilyan Tashman's all-white house, even 
the window drapes of damask tablecloth. 
Rugs, walls, chairs and plumbing fixtures — 
all white. 

Garho. 

Garbo's comings and goings, stayings or 
returnings. Garbo's sensational "evasions" 
of the Press. Evasions? No hunter, stalk- 
ing big game, ever trapped a black panther 
so successfully as Garbo traps the Press and 
GETS HER COPY! 

Mae West's folly in wearing $16,000 in 
diamonds — and not hiring a bodyguard. 
What if the robber had hit her over the 
head? 

The rumor that Marion Davies may play 
the role of Elizabeth Barrett in "The Bar- 



retts of Wimpole Street." Marion is a swell 
trouper and has her place in the sun where 
the sun spots are brightest. But oh, her 
place is not on Wimpole Street nor her role 
that of the invalid and subtle Elizabeth 
Barrett! 

While on the subject — the folly of the 
producers who did not shanghai Katharine 
Cornell when she was playing "The Bar- 
retts" on the stage out here and place her 
forcibly upon a set. 

The boobery of presenting Wally Beery 
as the Great Garbo at the premiere of 
"Grand Hotel." That little frivolity did a 
fiim-flam in the coldest icebox of a house 
I ever parked in. 

Where Garbo Sought Peace! 

GARBO, who is supposed to detest writ- 
ers, thinking of going to the Island of 
Majorca, a writers' colony, for a rest. 

The ex-wife who sued Helen Hayes for 
alienation of Charlie MacArthur's affec- 
tions, after Helen and Charlie had been man 
and wife and mother and father for four 
years. 

Connie Bennett's rumored Blessed Event. 

The von Sternberg attendance at a bull- 
fight in Mexico City, where the bull of the 
moment was dedicated to Josef. Now, isn't 
that a bully fri\-olity? 

The stars who wail about the stories writ- 
ten about them and never raise even private 
hosannas of thanks for the protection ac- 
corded them, for the picket fences of foun- 
tain pens and the moats of friendly ink. 

The folly of the quarrel between James 
Cagney and his bosses, which kept him off 
the screen for several months. 

The folly that some producer does not 
team Zasu Pitts and Lucien Littlefield — two 
simple, wistful souls to provoke kind 
laughter. 

Colleen Moore's contract at M-G-M at a 
reported salary of $2,500 weekly — and nary 
a camera turned on her and nary a story in 
sight, so far as we know at this writing. Did 
you say Depression? Or Economy? Don't 
be silly — you've been reading again. 

Barthelmess playing nineteen-year-olds — 
still. I mean, a feller must temper the story 
to the waistline, and the Barthelmess charm 
and dignity of to-day must not be perpetu- 
ally sacrificed to his vanished Yesterdays. 
We're all in the same blighty boat. We 
can't go on romping about and crying "Aw, 
Maw!" forever. Richard, this for you. 

Ann's Career Can Wait 

THE splendid folly of Ann Dvorak's 
marriage to Leslie Fenton. She knew 
that he was, and is, an adventurer; that he 
would rather sail the China Seas in a junk 
than make heaps of money in Hollywood. 
And now she has gone adventuring with 
him, and is that a folly or is it not? You 
tell— 

The Panther \A'oman Contest. When you 
think of some 60,000 little housewives all 
over the land (there were that many photo- 
graphs received at Paramount) going pan- 
therish in their looks and probably in their 
actions, you will certainly accord this folly 
an orchestra seat — 

And then came the Lion Man Contest. A 
search for a jungle gentleman a la Weiss- 
muUer to play in Paramount's " King of the 
Jungle," soon to be filmed. Imagine all the 
little Babbitts and shoe clerks and husbands 
and other downtrodden males rearing" their 
manes and going leonine on us — frightening 
the baby out of his wits and, possibly, the 
creditors off the doorsteps. Not such a folly 
at that, with consequences weighed. 

The folly of John Gilbert's refusal to see 
the Press, to give utterance to syllables. 
Which is said to have contributed largely to 



76 



the public's sort of losing contact with 
John. But John's changing to fascinating vil- 
lain in "Downstairs" was no folly — 'twas 
the cleverest transformation of the year. 

The von Sternberg- Paramount fisticuffs 
and walk-outs over the "Blonde \enus" 
story — and von's statement to the effect 
that he would return to Paramount in the 
interests of Miss Dietrich's career and that 
the principle of the case could be dealt with 
at some later time. 

The folly of even temporarily hiding the 
famous Dietrich legs. . . . 

Virginia (bride of John Gilbert) Bruce's 
voluntary retirement from the screen. A 
professional folly but, we feel, a personal 
triumph. For, though her career, so splen- 
didly started, may be gone, her marriage 
has a fifty per cent better chance of going 
on. 

The rumor that all is not well with the 
Swanson-Farmer marriage. This sort of 
thing cannot continue for indefinite hus- 
bands — 

A Thought for Tarzan 

THE Bobbe Arnst-Johnny Weissmuller 
divorce. Your folly, it seems to us, Mr. 
Weissmuller, beggin' your pardon, sir, for 
speakin' of our minds. We mean, you know, 
that genuine love does not grow on the date 
palms of Hollywood any too often. Think 
that over. It has a kernel of wisdom. 

The intelligent frivolity of the Laemmles 
in proving that Hollywood CAN laugh at 
itself, by producing "Once in a Lifetime." 

The folly of not making more pictures 
such as "Smilin' Through" — the loveliest 
weave of silver tears and golden laughter 
ever shuttled and spun in a talkie studio. 

The pity of it that the world doesn't have 
more Norma Shearers and Leslie Howards 
and Fredric Marchs and O. P. Heggies — as 
they were in "Smilin' Through." They 
made the human race seem a beautiful, 
worth while thing — 

The continued absence of William S. 
Hart from the screen. (See Hollywood 
Follies of 1930 and 1931.) 

The Rudy Vallee-Fay Webb near-divorce. 
The rumor that it was all for publicity — the 
folks are getting just too skittish about 
divorce. 

Lina Basquette's hiding her marriage to 
Teddy Hayes until she got a divorce. The 
rumors of Lina's "engagement" to Jack 
Dempsey. 

Those stars (may they bless me, I'll keep 
'em nameless) who have had the corners of 
their eyes slit so that their lamps may so 
shine. 

The producers who will not give Betty 
(Queen of Sheba) Blythe a chance to spangle 
again. She even offered to play the Cross in 
De Mille's "The Sign of the Cross." And 
we can guarantee that it would not have 
been a wooden performance. 

The magnanimous folly of Cecil De Mille 
in making a million-dollar spectacle in a 
year of depression, and giving thousands of 
people work in it. 

Claudette Colbert's milk bath in "Sign of 
the Cross." Claudette and Norman Foster 
taking separate houses to remain happily 
married. 

Some of the parts assigned to Clark Gable 
— the roles of ministers and white-haired, 
philosophical gentlemen. The mighty would 
not fall if they were not knocked down by 
the barbs and arrows of outrageous cast- 
ing- 
Gary Cooper's wardrobe for his monkey, 
"Toluca." 

The tree is bare. We've picked the last 
folly from the branches and the very twigs 
are bare. But if we've missed a few, let 'em 
hang and ripen for another year. 

And remember, this is all in good, clean, 
soaped and rinsed FUN. 



^ 






1. 



WOA' r PUT IN ANOTHER. MISERABLE EVENING 
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How Sari Maritza Was Made a Star 



{Continued jrom page 57) 



character, I'm afraid. But she tries to make 
up for that. She sees that I do my exercises 
and stick to my diet. She diets with me, and 
when I eat things I shouldn't, she makes me 
feel such a weak character that I don't do it 
very often." 

But Sari Stays Serene 

WITH a little crooked smile that didn't 
indicate any great distress. Sari con- 
templated her own frailties. Sari is gentle 
and soft and patient and somewhat wistful. 
Her quiet, delicate manner suggests some- 
one to whom the theatrical profession is 
very new and foreign. X'ivyan is forceful, 
with a sharply defined face and personality, 
and a worldh^ wisdom that Sari couldn't 
hope to match. X'ivyan goes around at 
present with no less a lady-killer than 
Randolph Scott, that blue-eyed and slow- 
moving X'irginian. Once in awhile the two 
girls have double dates, but usually they 
leave each other's social lives alone. Their 
friendship is chiefly in the home and in 
business. 

N'ivyan attends to all Sari's business af- 
fairs, and is not merely a go-between, but 
complete mistress of the situation. She 
makes all the decisions, and Sari accepts 
her judgment without question. 

"I know nothing about business myself," 
Sari protested, "and \'i\->^an is a smart girl. 
She has done very well for me so far and 1 
trust her completely. For instance, she got 
me a very good contract with Paramount — 
including a lot of things the studio after- 
wards wished they hadn't agreed upon. 

"I can't bear to talk about money. \"iv- 
>an is harder than I, and much cleverer. 
And she's a very good story-teller, which I 
am not." 

Story-telling is one of Miss Gaye's most 
important characteristics, for if she hadn't 
been a good story-teller Sari wouldn't be in 
pictures at all. Everyone knows by now 
that Sari Maritza isn't Sari's real name, 
that she is English and not Hungarian, and 
that far from being the experienced Euro- 
pean actress she was painted, she was a 
completely green schoolgirl who hadn't even 
done much in the way of high-school 
dramatics. All tales from the fertile and 
probably expensive imagination of Miss 
Gaye. 

Bluffed Her Way to Fame 

MAYBE you don't know the story of 
how Sari and her younger sister were 
languishing in the South of France one 
winter when Sari — or Pat, as she then was — 
began to have a yearning to be a movie star. 
Since leaving her birthplace in China at the 
age of twelve, she had never done anything 
but go to school and travel around, and 
hadn't the remotest idea what to do about 
becoming a star. But in her vague little 
way she began telling people about her 
ambitions, and somebody suggested a girl 
in London who could help her out. 

That was X'ivyan Gaye. She had been in 
pictures a little, and knew the studios, the 
producers and the press-agents — in short, 
the ropes. She was intrigued with the idea 
of making Sari an actress, so she cooked up 
the amazing hoax that put Maritza across 
as a star, in spite of the fact that she 
couldn't act, knew nobody, and was un- 
heard of. 



First they chose a nice Hungarian name. 
(They put together two of the titles of 
X'iennese operettas, "Sari" and "The Coun- 
tess Maritza.") Sari practised an accent to 
go with it. \'ivyan selected a past for her, 
including a good deal of starring experience 
on the Continent, in pictures th^t couldn't 
possibly be checked up. 

Then she was led around to various in- 
fluential persons who advised her in a 
fatherly manner that if she wanted to get 
anywhere in pictures she would have to 
overcome that accent. 

"So in a week I learned to speak perfect 
English, and was considered a very clever 
girl." 

Proving the power of a good story, .Sari — 
whose name is pronounced "Shar-ee" — ' 
became a star almost at once, in such 
British and German productions as "Bed 
and Breakfast," "No Lady" and "Monte 
Carlo Madness." And that led to Holly- 
wood, where she is just beginning to feel 
her inexperience. 

Finds Acting Isn't Easy 

I'M studying, and trying to learn to act. 
But speaking lines is so hard. You 
practise them with the coach, but it's so 
different when you get in front of the 
microphone." 

Maritza hasn't found Hollywood a very 
happy place, anyway. First they put her 
in a picture called "Forgotten Command- 
ments," which was enough to depress any 
ambitious girl. 

Then people complained that her ankles 
were too thick and her figure too dumpy, 
an accusation which Maritza answered by 
going to Jim, Paramount's wizard masseur, 
for six months and being completely re- 
modeled to meet all requirements. If you 
don't think this can be done, .compare the 
Maritza of "Forgotten Commandments" 
with the new Maritza of "Evenings for 
.Sale." 

Next a former landlady sued her and 
\"ivyan, "most unjustly," for $1,700 dam- 
ages to the furniture of an apartment they 
had occupied, charging that they had 
burned holes in the rugs and broken off the 
legs of chairs and generally behaved like 
Laurel and Hardy. That was almost more 
than Sari, who had never even given a 
party, could bear. 

"Of course, I realize it's not fair to judge 
America by Hollywood," she says chari- 
tably. "Here people are not aware that 
anything exists outside of pictures, and the 
worst of it is you can't get away. I've ne%'er 
stayed in any one place more than four 
months since I left China, and always in 
hotels. This is my first house." 

Patient and resigned in her mild way is 
Sari. She has her limp little Pomeranian, 
which remains any way you put him with 
the most accommodating affection. And 
her wire-haired terrier, and her house, and 
her manager, and her masseur. But though 
she should be cooing with domesticity and 
thrilling over every piece of furniture in her 
first home, she is secretly longing to be in 
some uncomfortable hotel with that tem- 
porary feeling that is the breath of life to 
veteran travelers. Maybe the traveling 
urge is what won her the feminine lead in 
"Luxury Liner," in which George Brent 
will be her leading man and the recently 
returned Alice White will be her rival. 



Sari Maritza is one of those exotic movie girls whose clothes are likely 
to be dazzling. Sooner or later, she is bound to be mentioned in Motion 
Picture's new and original feature — Marilyn's Clothes Gossip from Holly- 
wood (the place that sets the styles these days). Keep up with Marilyn, 
and you will keep up with all the newest and cleverest fashions! 



78 



'Tm Leaving, But TU 
Be Back'* 

(Continued from page jj) 

have to realize the circumstances under 
which I came back to America to make 
films. 

"I am an American, but my fame was in 
England. London toasted me; England 
hailed me as one of its greatest stars. Vou 
know that. You saw me there. I was a 
popular actress in London because I always 
found plays that suited my temperament, 
parts in which I believed. 

"Really, my journey to New York o\er 
a year ago with a starring contract in my 
bag was almost like the entry of an innocent 
immigrant. I had not the slightest idea 
just what I was going to do. I knew nothing 
about films. I knew nothing of angles and 
lights and retakes. 

"Most tragic of all, I knew nothing of 
film stories. L who could appreciate a play 
at first reading, could not fathom the pos- 
sibilities of a complicated scenario after 
hours of study. So when I read the script 
of 'Tarnished Lady,' I was powerless to 
criticize. They belie\ed it was a good 
story, and I had to accept their word for it. 
Perhaps it was a good story, but it wasn't 
the right story for me. That, I think, has 
been the difficulty with all my stories. 

"There were many unhappy hours during 
the making of 'Tarnished Lady.' We were 
working on Long Island, so, naturally, I 
was living in New York. And you know 
what happens when an actress with a 
certain amount of glamour lives in New 
York, where every other newspaperman is 
a columnist. 

Hampered by Nervousness 

"T WAS soon food for the gossip writers. 
J. They told all manner of tales about me 
— tales ranging from a romance I was sup- 
posed to be having with Gary Cooper, who 
was working on the lot at that time, to 
cabled courtships with peers and princes in 
Europe. 

"I would not have minded the gossip so 
much, had I not been worried by my work. 
I was horribly nervous. This new medium, 
in which emotions were broken up into so 
many feet of film, was proving more trying 
to me than the most complicated of my 
plays. L who had played before thousands 
without the tiniest tremble, was finding that 
a few minutes' work before a camera, a 
microphone and a few people was a nerve- 
wracking ordeal. After the first day I had 
all spectators banned from the set. 

"Then they showed my film. I remem- 
ber, I went into the theatre with some 
friends one night when 'Tarnished Lady' 
was being shown on Broadway. I cried 
after the first reel had appeared on the 
screen, and long before it was over, I crept 
out of the theatre, leaving my friends. 

"I saw then what I thought was wrong 
with me. I was not used to the lights and 
the angles. I had been photographed 
wrongly. I resolved that in my next film 
I should put that right. I should have re- 
solved to put another thing right, too. I 
should have resolved to have a better story 
for my next film. 

"Then I came out to Hollywood. Im- 
mediately, the gossips' stories broke out 
afresh. A reporter rang me up to ask for 
an interview, and ended the conversation by 
saying he hoped I was as charming as I 
sounded over the wire. 

" 'Oh,' I joked, 'I'm every bit as charm- 
ing. I'm divine!' 

"Later his paper, without mentioning the 
fact that I had said the words chaffingly 
over the telephone, printed this statement: 
'" I'm every bit as charming as people think 
me. I'm divine," Tallulah Bankhead says.' 
(Continued on page 8i) 




Most tooth troubles 
start in film 



VUTHAT is this film that robs us of our 
W teeth? A slippery, sticky coating formed 
by the mucin in saliva. It stains teeth yel- 
low. It catches bits of food which soon decay. 
Yes, but that's not all ! Film contains mil- 
lions of tiny germs. 

Some are rod-shaped, grouped in clusters. 
These are decay germs. As they live they 
give off enzymes that produce lactic acid. 
This lactic acid dissolves tooth enamel just 
as other acids eat holes in cloth. Other 
germs are linked with "trench mouth"— 
still others with pyorrhea. 

"What must I do to fight Him 7" 

To fight film use Pepsodent instead of ordi- 
nary tooth pastes. Why? Because a tooth 
paste is only as good as its poHshing mate- 
rial; not one bit better. The new polish- 
ing material in Pepsodent is one of the 
great discoveries of the day. Its power to 
remove every trace of film stain is revolu- 
tionary! Its notable distinction of being 
twice as soft as polishing materials in com- 
mon use has gained wide recognition. 
Remember, the one safe way to fight film 
is to use the special film-removing tooth 
paste— Pepsodent— twice every day and to 
see your dentist at least twice a year. 



See how rapidly film 
forms on teeth 




These teeth were 
absolutely free of 
film at 8 a. m. 
At noon — the film 
detector* solution 
was applied and this 
is how they looked. 

AtSp.m — thefilm 
detector*showsstill 
heavier deposits of 
film. Two-thirds of 
the tooth's surface 
is covered. 

AtlOp.m — these 
same teeth were 
bru shed w ith 
Pepsodent. Note 
howthoroughlyfilm 
has been removed. 



* A harmless fluid, used 
by dentists, which stains 
film so that the naked eye 



Pepsodent- 



is the special Film-removing tootli paste 



79 




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{Continued jro 

to get its own way. It belongs to a naturally 
sincere and admirable person — a nice person 
to know. But it has a temper!" 

He found Jean Harlow's mouth a little 
"spoiled," a little superficial, but oh, so 
charming! He found it full of temperament 
and not too controlled, but he found in it, 
too, a shrewd sort of determination — a 
character that gets its own way sooner or 
later. A pretty tempestuous person, on the 
whole, but fascinating enough to make up 
for the storms. 

Confronted with Ramon Novarro's 
mouth, Mr. Pogany exclaimed, "Why, it 
should belong to a choir boy! It belongs to 
a pure sesthete, talented, artistic and sen- 
sitive. Its owner feels intensely, but does 
not think or judge very clearly. There is 
something remote and withdrawn about 
him; he is afraid of ugliness — afraid, I 
think, of life!" 

Miriam Hopkins he found to be sad and 
quiet — despite her ability' to make other 
people laugh. A friendly mouth, with the 
feminine characteristics not too marked. 
She would not make demands upon a man, 
but she would be a grand friend to him. 

Gary Cooper's mouth was "almost femi- 
nine." Sensitive, artistic, somewhat super- 
ficial. 

Mae Clarke's mouth is humorous, intelli- 
gent, impulsive, a little sad, strong-willed. 
"This girl will go far in whatever she chooses 
to do! It is a charming mouth." 

Maurice Chevalier's mouth shows much 
humor, artifice and an underlying senti- 
mentality, which he hides from the world. 
It is a vain and ambitious mouth and the 
tenseness of the upper lip shows a tendency 
to be "close" — almost selfish. "But," Mr. 
Pogany concluded, "this man can make 
people like him!" 

Can he! 

Sylvia Afraid Love Is Blind 

SYL\TA SIDNEY'S mouth was "almost 
Oriental in its mystic timidity." She is 
generous, a good friend, maternal and affec- 
tionate. She is, howe^'er, afraid to give of 
herself too much for fear of being hurt. 

Norma Shearer's mouth betrayed "a 
woman who knows her mind — who goes 
strongly after what she wants and who 
usually attains it. These lips have been 
deliberately falsified by their owner to hide 
a crisp and penetrating intelligence, to give 
them a soft and clinging femininity that is 
not completely natural. A mouth with 
charm and poise." 

Lionel Barrymore's mouth he called "in- 
telligent, sarcastic — but not as cruel as its 
owner could be. He has restrained a natural 



m page 34) 

tendency to be caustic. A little vain, a 
little self-centered. Witty, secretive and 
not given to violent emotions." 

John Barrymore's mouth "shows a 
Napoleonic complex. This mouth belongs 
to an aesthete, an artist, a man who has 
accomplished much in his chosen line. It 
shows conceit and wit — and I think he is 
something of a Narcissist." 

Lewis Stone's lips reveal "an innate 
vanity, saved by an excellent sense of 
humor. There is sadness in the droop of 
the corners, experience in living, a lack of 
deep emotions. He is a stern critic of him- 
self — and a very determined gentleman." 

Janet Gaynor he found to be "a born 
mother!" A bright person, a gay and lovely 
companion. "There is sweetness here and 
consideration for other people. This is not 
an intellectual or even a deeply intuitive 
person." 

Clark Gable turned out to be "intelli- 
gent, impulsive, emotional, but self-con- 
trolled. He has a sense of humor and enjoys 
a joke, even at his own expense. But he is 
not witty." 

Constance Bennett is "strong-willed, a 
little sensual. She has more humor in her 
make-up than the petulance of her mouth 
would indicate. There is a little disappoint- 
ment here, and there is great charm and 
ability — a native sort of shrewdness that 
will always help her to get her own way in 
life." 

David Manners' mouth shows "a sensi- 
tiveness that amounts almost to an inferior- 
ity complex. He must fight this all his life. 
He has an excellent intelligence and a deep 
appreciation of what is fine — in the arts and 
in people and in life in general. People with 
mouths like this make the bean gestes in this 
world!" 

Wynne Gibson's mouth, he thought, be- 
longed to "a very nice girl. A lovable 
person. She has no depth, but she tries 
very successfully to please because she likes 
so much to be liked." 

Roland Young's mouth shows "a sly 
humor — repressed, restrained amazingly. 
He never laughs at life — he smiles at it 
gently. He is terribly afraid of making a 
fool of himself; he is an artist, and he is 
extremely intelligent. The droop of one 
corner betrays a little sadness, which he 
wants to hide ..." 

So there you are. If you want to play 
this Hollywood game, here are the mouths 
and some of the lipstick impressions of the 
stars you know and follow. See how nearly 
like your favorite's your own mouth is. Try 
this game at your next party. It's a lot of 
fun! 




'It's the old army game — this being in the movies," says Minna Gombell. "You have , 

to keep fit, or you can't fight" 



80 



"rm Leaving, But TU 
Be Back'' 

(Continued from page jg) 

So Hollywood immediately branded me as 
conceited. 

Hounded by Rumors 

"' I HEN, because I am young and un- 

X married and not without beauty, my 

name was linked up with most of the eligible 

young men in the film colony, from William 

Haines on down the line. 

"Everybody was gossiping about me, it 
seemed, telling funny tales, because I did 
what few of the other stars ever do — I 
stayed at home. My friends saw me there. 
I did not go out at night. I appeared in 
none of the public places. So they said I 
was having secret meetings with people in 
dusky speakeasies. 

"Then they attributed my 'exclusiveness' 
to a grudge I was supposed to have toward 
the other stars. Later, when I was seen 
about with these stars and that theory 
ceased to hold water, they said I was a snob, 
that I wouldn't mix with the common 
movie crowd, who had mostly begun in 
lowly circumstances, because I was a mem- 
ber of an old American family and had had 
such a success in London. 

"Meanwhile, I had made two more films 
before coming to Hollywood. First 'JNIy 
Sin,' a hackneyed story about a Panama 
entertainer who redeemed herself. Then 
came 'The Cheat,' in which I played the 
part of a misunderstood wife. Before, I 
had been merely a misunderstood woman. 

"Apparently, this formula was supposed 
to work like an ad\'ertising slogan — find 
favor by repetition. For next in 'Thunder 
Below,' I played the restless and somewhat 
wearily heroic wife of a blind man. Then I 
was cast as the wife of a jealous madman in 
'Devil and the Deep.' My chief pleasure in 
making that film — which did achieve some 
suspense toward the end — was playing with 
that madman. I am pleased that I appeared 
in the film that gave Charles Laughton his 
first real opportunity to play before the 
American public." 

Didn't Take Laughton's Advice 

IN this connection, I might mention a 
story about "Devil and the Deep" that 
Laughton told me soon after the picture had 
been presented in Hollywood, with conse- 
quent acclaim for himself. As soon as he 
read the script, the English actor said, he 
knew that he would steal the picture. 

"Every actor knows," he told me, "that 
a drunkard or a madman in a play or film 
will always steal the applause away from 
those playing straight parts. And when the 
mad character is one fashioned by a play- 
wright like Benn W. Levy, the thing is a 
certainty. 

"As soon as I read through the story, I 
knew the film was going to be mine, and I 
didn't bother in the slightest about how 
my name was going to be billed. I knew 
the public would find out who I was without 
anybody's telling them. 

"I advised Miss Bankhead — who had 
been a star on the London stage when I 
was still an unknown — not to take the part 
of the wife in the film. She was supposed to 
be the star, and I knew I would over- 
shadow her. But, apparently, she was not 
convinced by my arguments, and 'Devil and 
the Deep' was made with Tallulah in the 
leading role." 

Paramount, seemingly convinced that 
Tallulah Bankhead was the type of actress 
for whom it was impossible to find "the 
right story," decided to make no more 
films with her after "Devil and the Deep" — 
(Continued on page 8$) 




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Where You'll Find the Stars at Play 



HI 



{Continued from page $/) 



painted on a back drop — two sheer miles 
from the flat desert floor. The hotel gardens 
are a green oasis in the waste where the 
horses of the movie stars leave deep hoof- 
prints in the sand. Here are no theatres, no 
shops, no night-clubs, no staring eyes, no 
bright lights — and yet Hollywood flocks to 
the desert from late in the autumn until 
Easter. 

The stars' limousines and sport roadsters 
unreel the miles from Hollywood in less than 
three hours, while their 'planes carry Wal- 
lace Beery and Paul Lukas over the valley 
orange groves and mountain tops in half the 
time. Nancy Carroll finished work on 
"Under-Cover Man " at three o'clock and, at 
seven, in evening dress, dined in a window 
alcove, overlooking a cactus garden as 
exotic as that beyond the dining-room win- 
dows of -Shepherd's Hotel in Egypt. At ten 
in the morning, Gary Cooper leaves the 
studio and at one in the afternoon is lunch- 
ing in bathing suit and beret in the open-air 
grill beyond the swimming pool at El 
Rlirador. 

Here is one playgrgund where theatrical 
people are in their element. For Charles 
Laughton is right. There is something 
theatrical and unbelie\able in the setting of 
Palm Springs, something of the dramatic in 
the blue of the sky, the purples of the moun- 
tains, and the bronzes and ambers of the 
desert itself that appeals to actors. Many 
motion picture people have bought land 
there. 

Eddie Cantor, Al Jolson and George Ban- 
croft — to name just three — have plans 
already blueprinted for soft-outlined adobe 
houses that will melt into the general glow 
and color. Many others make this their 
permanent address for the winter months, 
commuting back and forth to Hollywood in 
the big passenger 'planes that land just 
beyond El Mirador's golf links. 

They Gather 'Round the Pool 

THE heart of this great desert resort — 
which, translated, means "the mirror" 
— -is the swimming pool; and the most im- 
portant garment in a visiting star's ward- 
robe is the bathing suit. Here Eleanor 
Holm, Olympic champion and budding pic- 
ture star, does her famous backstroke under 
the admiring e\es of Carl Laemmle, Jr.; 
Johnny WeissmuUer pretends to teach a 
buddy how to dive from the upper board, 
with burlesque awkwardness that convulses 
the crowd; and Hoot Gibson manages to 
ride Broomtail, the rubber horse suspended 
hazardoush' in mid-air over the deepest part 
of the tank, for two whole minutes while his 
friends cheer his struggles. 

Last year, Jimmy Durante spent two 
months in and on the edges of the pool, 
between pictures — telling reporters he was 
waiting for Garbo to send for him. Hair wet 
and tousled, the famous schnozzle [glisten- 
ing with oli\e oil, the entire Durante phy- 
sique, except for abbre^"iated trunks, ex- 
posed to the admiration of the multitude, 
Jimmy sat at the small piano that the 
beneficent Warren Pinney, manager of the 
hotel, installed for his benefit on the edge of 
the pool and shed his sweetness on the 
desert air. 

Jimmy is one of those actors who simply 
can't take a holiday from acting. He is the 
hotel managers' delight, always ready to 
brighten up a dull evening or provide a 
laugh. Last New Year's Eve, however, 
Jimmy shook his head when El Mirador's 
master of ceremonies for the evening ap- 
proached his table. 

"No, sir," said Mr. Durante vigorously. 
"Every New Year's Eve I can remember, 
little Jimmy has been The Life Of The 
Party, I've made up my mind that tonight 



I'm going to enjoy myself just looking on." 
That was at ten o'clock. By ten-forty-five 
Jimmy was casting restless glances toward 
the orchestra. By eleven-fifteen he was 
fidgeting in his onlooker's chair. And by 
midnight he was at the piano, tearing off 
songs as happily as the others in the room 
were listening to them. 

Arthur and Florence Lake also tell 
an amusing story of Jimmy diving in the 
pool one day, (o la Hawaii), after coins. 
Finally, getting a bit fagged, he yelled, 
"T'row dollars! T'row dollars!" 

Marxes Stage a Free Show 

WHEN the Marx Brothers register en 
masse, or even singly, at a hotel, there 
is no need for the management to provide 
other entertainment during their stay. 
Though Groucho's puns and Chico's antics 
may cause some dowager to lose a couple of 
pounds or drop her lorgnette, the Brothers 
scatter several thousand dollars' worth of 
high-priced clowning during a week-end 
stay. Harpo, coming in from the golf links 
once as some mannikins paraded through 
the huge loggia of the hotel in a teatime 
style show, fell into the procession, swaying 
his hips, turning and posturing precisely 
like the model in front of him. 

"The Marxes are wonderful to handle," 
the hotel clerks say of them — which is the 
highest compliment for actors in the vocabu- 
lary of hotel clerks. "All the regular troup- 
ers, the experienced actors, are easy to 
handle," they add, "but sometimes, some 
of the newer ones — the players who ha\e 
achieved sudden success — are, well, diffi- 
cult." 

The movie players go to Palm Springs for 
three reasons. The new Hollywood celebri- 
ties go because it is The Thing To Do. The 
established players go because they find 
there all the sports they really enjoy. 
Bessie Love and Loretta Young bic>cle in 
linen shorts, George Bancroft tans his mus- 
cular torso at the pool, Gary Cooper shoots 
ducks (in lieu of lions and wildebeests), 
Claudette Colbert gallops over the sand and 
sagebrush. Regis Toomey and Jack Oakie 
golf, Joan Crawford plays tennis. The third 
reason for going there is to rest and recu- 
perate. 

Lucien Littlefield, the character actor, has 
just been recovering from a bad siege of flu 
in the dry Palm Springs air. Richard Ben- 
nett recently convalesced there after a bout 
with pneumonia. James J. Walker, then 
Mayor of New York, took a rest cure at the 
Palm Springs estate of Samuel Untermyer, 
the lawyer, last winter. Last year, Pola 
Negri spent many weeks, stretched in the 
desert sunshine, which is as clear and sharp 
as wine, getting back her strength from her 
almost fatal illness. 

Knows About All the Romances 

PRINCESS NAGLEE NONABA, the 
pretty little Indian woman who sells 
Navajo blankets and turquoise-studded 
jewelry in the hotel gift shop, persuaded 
Pola to try some of the herb remedies of her 
father, a famous Indian medicineman, and 
the two of them became good friends. 
Princess NaGlee, by the way, is the first to 
know of romances among the movie guests 
at the hotel — by the gifts the men stars buy. 
Every year some of her customers drop in at 
her little shop to purchase desert Souvenirs. 
The presents are the same — hand-hammered 
bracelets and silver chains. But each year 
they buy them for different ladies! 

"They get blankets, too," she says in 
careful English. "Last week Ken Maynard 
bought a red one with the Sun emblem, to 



82 



have a coat made for himself. Eddie Cantor 
buys blankets for his wife, and dolls and 
bracelets for his little daughters. Mae 
Clarke chose a whole set of silver and tur- 
quoise the other day — a chain like mine 
here, bracelets, rings and pins. Ben Lyon 
bought a doll for his baby. Gary Cooper 
came in with the Countess Frasso when her 
party was here, and he bought bracelets, too." 

The Countess Frasso, by the way, had El 
Mirador in an uproar when she appeared in 
the long riding skirt of Continental ladies 
and demanded a side-saddle. Frantic search 
disclosed that the only side-saddle in Palm 
Springs was on exhibit in the museum, fall- 
ing apart with age. The cowboy in charge 
of the stables vetoed the suggestion to send 
to town for one. " No, sir," said he decisive- 
ly. "My ponies' backs shan't be spoiled by 
such a contraption. The lady rides right or 
she don't ride." 

The Countess didn't ride. 

Every part of El Mirador has been im- 
mortalized in celluloid. All the newsreel 
companies gather at the pool for the swim- 
ming meets held there twice a season. The 
tall tower and the cool arcades served as 
settings for "Follow Through," filmed en- 
tirely on the hotel grounds, and almost 
every big picture personality, always ex- 
cepting Garbo, has posed for art studies in 
one romantic spot or the next one, which is 
likely to be still more romantic. 

In Hollywood, friendships are hurried 
because of the strain of work — but down at 
Palm Springs, where rest and quiet are to 
be had in abundance, friendships have a 
chance to grow. Joan Crawford and Clau- 
dette Colbert, two old friends, have just 
taken advantage of the fact that they're 
both "between pictures" and have had 
several day's talk at the desert resort. 

Become Amateur Photographers 

THE movie crowd are all camera fiends, 
themselves, the pool attendant reveals, 
and tirelessly snap each other or any visiting 
non-Hollywood celebrity who may happen 
to be present. Ben Lyon was particularly 
fascinated by Professor Albert Einstein, and 
followed him about continually, begging 
permission of the embarrassed scientist to 
take his picture and, like any demon movie 
fan, pleading for an autograph. 

The tall tower of El Mirador was almost 
grazed by Joan Bennett's privately char- 
tered fourteen-passenger airplane on her 
historic (and dramatic) flight to the desert 
resort, when Johnny Considine went down 
to week-end at the hotel, where Carmen 
Pantages (now Mrs. Considine) was recu- 
perating from a nervous breakdown. It was 
eleven o'clock when Joan (now Mrs. Gene 
Markey) roared over the mountains and 
settled down on the desert beside the hotel. 

El Mirador, slumbering peacefully, awoke 
with a start at the tumult of the three 
motors. An hour later, after a stormy meet- 
ing with Johnny, the youngest of the Ben- 
netts took off for Hollywood, while night- 
gowned, negligeed and pajamaed guests 
cheered as the big 'plane just missed taking 
the top off the tower as it left the ground. 
It is a popular belief that the Bennett- 
Considine romance ended in that hour at 
Palm Springs — where so many romances 
begin. 

The El Mirador, with the contrast be- 
tween its comfort and the savagery of 
scenery all around, is a monument to man's 
eternal war with nature. Every brilliant 
blossom, every tree and spear of grass in its 
lawns are separate triumphs. The water 
that murmurs night and day in its pools and 
fountains is a tiny paean of victory. Fer- 
tility in the midst of sand wastes, Paris 
gowns and tea tables under the towering 
granite mountains, the latest music mingling 
with the howl of a jackal under the low- 
hanging stars — all this is Drama, itself. 

No wonder that the motion picture 
people, to whom drama is the very breath 
of life, find Palm Springs congenial! 




A Scene from "The Mask of Fu Manchu" — a Metro-Goldnuyn-Mayer Production, 
* featuring Boris Karloff, Karen Morley, Leavis Stone, Myrna Ley. * 



A STRIKING EXAMPLE of 
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What Has Marriage Done 
to George Brent? 



'I 



{Continued from page 4g) 



The Brent sense of humor is not "social." 
He cannot laugh merely to be polite, or 
because he is expected to laugh. For this 
reason, a great many would-be Hollywood 
wits believe he is completely devoid of that 
saving grace of humor. Which isn't true. 
His humor is sincerely flattering to the 
humorist because he laughs only when he is 
genuinely amused. 

Can't Abide Stale Sentiments 

HE likes things done, if they are going to 
be done at all, intimately and per- 
sonally. In George Brent's mind the man 
who leaves a "standing order" with a florist 
to send flowers to a chosen lady is totally 
lacking in true romance. Even in choosing 
Christmas and greeting cards, he prefers to 
select a sentiment appropriate to the person 
it is intended for. In turn, he resents being 
made the recipient of any old kind of greet- 
ing on his birthday or Easter that would do 
for Aunt Emma "just as well." 

He does, however, do his own personal 
shopping for clothes, et cetera, in wholesale 
lots. He hates to shop and for this reason 
will purchase dozens of ties, shoes, socks and 
handkerchiefs at one "buying." He is the 
salesmen's delight and can be sold anything 
that can be worn by a tall, dark man. He is 
decidedly not a bargain-hunter. Like most 
men, he believes that price has a great deal 
to do with quality. 

Even in his "pre-prosperity" days, when 
his salary as a stock company actor barely 
permitted indulgence in luxuries, he was 
determined to have the best — or nothing. It 
was usually nothing. He has never owned 
an inexpensive car, because he would not 
own any if he could not afford one of the 
best. He likes the/cf/ of an expensi\'e motor 
under his foot. When his bank account did 
not permit such a luxury, he rode the busses 
and the street-cars. 

In spite of a colorful and exciting life, 
which began in Dublin, Ireland, and saw 
him a newspaper man, a soldier, an ad- 
venturer, a "stock" actor, and a Broadway 
success before twenty-five, he is looked upon 
as "bad copy" by Hollywood reporters. 
(He is now twenty-eight, by the way.) It is 
difficult for him to talk about himself, not 
through any feeling of modesty or an in- 
feriority complex, but because he is staunch 
in his belief that his private life is his own 
business. It actually makes him physically 
ill to read what other stars have to say about 
their "happy marriages," their "darling 
babies," and their "careers." He has the 
idea that such details about himself might 
reasonably affect other people the same way. 

From the few brief and unwilling com- 
ments that he has dropped about his first 
marriage, Hollywood gathers that it was an 
unhappy experience for him. This is in 
direct contrast to the first marriage of Ruth 
Chatterton. She and George are still much 
in the company of Ralph Forbes. 

Says Gable Was Wronged 

THERE is one recent turn in Hollywood 
publicity, however, that delights his 
soul. The press has temporarily, at least, 
stopped comparing him to Clark Gable! 
He grinningly assures you that this was a 
grave injustice to Clark — which should re- 
assure some people who have been in doubt 
about his sense of humor. Without at- 
tempting to be obviously "good sport-ish" 
about it, he thinks Clark has had a de- 
servedly interesting and successful career — 
not counting "Strange Interlude," of course. 
Concerning his own pictures, he considers 
"The Rich Are Always with Us" as his most 
worthy screen appearance, and "The Pur- 



chase Price" as his worst. Nor did he like 
himself in "The Crash" — and even en- 
couraging box-office reports cannot change 
his mind about it. It mildly amuses him 
that he expended his greatest effort for his 
role in "The Purchase Price," which was his 
"worst" picture. He worked like a Trojan 
on this picture and encountered many 
physical hardships, such as spraining his 
back and burning his foot. On the other 
hand, he exerted himself not at all in "The 
Rich Are Always with Us" and it turned out 
to be his most satisfactory appearance upon 
the screen. So what? 

For such reasons as this, he figures that 
any actor who worries, even a little bit, 
about his career is slightly demented. Suc- 
cess, or failure, according to the Brent cal- 
culations, are too accidental to cause any 
sleepless nights. Either you are going to hit, 
or you aren't going to hit. . . . 

Crowds, even friendly crowds, frighten 
him to the extent that he attends practically 
no social functions in Hollywood such as 
"first nights" and Mayfair parties. He is not 
"flattered" (as most stars pretend to be) by 
having fans attempt to pull buttons off his 
coat or clip a piece of his necktie for a 
souvenir. It thoroughly annoys him, and he 
won't "grin and bear it" — as movie stars are 
supposed to do in the midst of such physical 
adulation. 

The Attention He Prefers 

HE does, however, appreciate the ad- 
miration of people who calmly and 
sanely sit down and write him a letter. He 
msists that nothing ever touched him so 
much as the many letters he received from 
fans while on his recent personal appearance 
tour with Loretta \'oung. They were 
friendly and sincere and honest letters, 
many of them stating that they could not 
afford to spend the money to come to see 
him — but that they wished him every suc- 
cess and happiness. He answered personally 
as many of these letters as his crowded day 
would permit. 

His idea of a good time in the evening is to 
have five or six close friends in for dinner 
and then seven or eight good hours of talk 
. . . and more talk. Occasionally, he enjoys 
the theatre, but not too often. Helen 
Gahagan is one of his foremost stage 
favorites. He never goes to the movies if 
he can help it! 

He regrets deeply that a serious eye 
affliction has kept him from much reading 
in the past few years. Even now he has been 
advised that he should not put too much of a 
strain on his eyes. In spite of doctors' 
orders, he did read William Faulkner's 
"Sanctuary." He is looking forward to the 
same author's new book, "Light in August," 
hoping that it will be less gory in theme and 
still retain the original charm of the author's 
style. He enjoys Jim Tully's books because 
he enjoys Jim, himself, so much. 

The other evening, before sitting down to 
his evening meal, he read in the newspapers 
where he was being loaned to Paramount 
for a picture with Sari Maritza to be called 
"Luxury Liner." It was the first he had 
known of it. Since reading the script, he ha« 
decided that the picture will probably do 
him more good than the last three he has 
made on his home lot. He has^ also read 
where he is going to be teamed with Kay 
Francis in three pictures. And that's all he 
knows about that. . . . 

According to the people at the studio, his 
marriage to the Queen of the lot hasn't 
changed George Brent any — except in one 
respect. He never chewed gum . . . until he 
met Ruth Chatterton! 



84 



'Tm Leaving, But TU 
Be Back'' 

{Continued from page 8i) 

her best picture until then. It is easy enough, 
however, to see the studio's viewpoint. 
After all, Tallulah was an expensive busi- 
ness investment, reputedly receiving more 
than $100,000 a picture, and the returns 
on the investment had not been sufficient 
to make them optimistic about the results 
of continued expenditure. The overhead 
was too evenly balanced with the dividends. 
They had spent a fortune in making her 
known to the movie public, but, much as 
they hated to admit it, Tallulah seemed to 
be etched only surface deep in the conscious- 
ness of moviegoers. The fact puzzled them 
— but the fact was still there. 

Yet, while salary slashes were going on 
around all the studios, they faced the un- 
pleasant prospect of paying her several 
thousand dollars a week until Nov'ember 7, 
when her contract came up for option. What 
to do? They finally negotiated a deal with 
Metro-Goldwyn-Mayer whereby Tallulah 
was loaned out to that company to make a 
film called "Faithless," co-starring with 
Robert Montgomery. 

She "Wanted a Rest" 

HOLLYWOOD seethed with a rumor, 
just before "Faithless" was released, 
that had this film as a final test for Tallulah. 
If she succeeded in it, the gossips said, 
M-G-M would give her a long-term con- 
tract. If she failed, she would return to 
New York to do a play. Critics were divided 
in their reception of the picture. A few 
days later, it was reported that she was 
packing her bags . . . 

"Let me tell you the truth about my 
dealings with M-G-M," Tallulah said. "As 
soon as 'Faithless' was finished, I was 
immediately offered a contract. I refused 
to sign then. I wanted a rest. I wanted to 
get away from Hollywood, and think things 
over. I had half a notion that I'd like to 
return to the stage this winter and find a 
play that is a play. That same day, I was 
approached by several other companies. 
Hollywood was not forcing me out of the 
mov'ies! — as the latest rumor had it. 

"I was on the verge of leaving only 
because I wanted to leave. I had no grudge 
against the movies. I had had no quarrel 
with any studio. I was indifferent to Holly- 
wood's gossip that I had 'failed.' I simply 
felt that, through nobody's fault in par- 
ticular, I had been the victim of the weakest 
stories that any star of my standing has ever 
had. The fact that I have come through 
them, that I am still considered a good 
actress by a large majority of filmgoers, 
must at least say something for my per- 
sonality and capability." 

What will Tallulah Bankhead do next? 
See has gone to New York and may go on to 
London before she returns to the films. There 
are rumors that she may appear in a Broad- 
way play before she takes up screen acting 
again. This much is certain — her initial 
adventure in Hollywood has been a failure. 
All six of her films have failed to please 
hordes of movie fans — and her return, now 
scheduled for the early Spring, will be more 
in the nature of a fresh start, rather than 
the resumption of an established favorite. 
She denies that she has yet signed up with 
any studio, but there must be some sort of 
understanding to allow even tentative plans. 

Tallulah needs a change of scenery, as 
well as a change in stories. She is more anx- 
ious to have the change in stories than the 
change in scenery. And she wouldn't be a 
bit surprised if she gets it. She is one star 
who is convinced, "the play's the thing." 
Hollywood hasn't beaten Tallulah.. She's 
leaving, but she'll be back! 



New-type 
handkerchief 
wins nation! 




Disposable Tissues in pSace 
of germ-carrying handlcer- 
chiefs! Price now 25c 

KLEENEX changed the handkerchief habits 
of a nation ! Today one sees these health 
tissues everywhere. A new idea, startling, rev- 
olutionary — yet thousands instantly recog- 
nized the value of a disposable handkerchief. 

Kleenex actually costs less than laundering 
. . . costs so little that each tissue may be used 
just once, then destroyed. 

Kleenex is soft — positively downy of tex- 
ture! Absorbent — many times more absorbent 
than cotton or linen ! Always gentle. Always 
dry — for it's used but once. 

Who, having tried this clean, civilized way, 
could wish to return to the unsanitary hand- 
kerchief during colds? — a germ-trap that's 
used over and over — stored in laundry bags 
to spread infection — then must be washed. 

Pocket Packet — 2 for 5c 

Kleenex is available in pocket packets ; in rolls 
and packages ; in extra-large tissues ; and in 
the form of finished handkerchiefs known as 
'Kerfs ... at drug and department stores. 

T ISSUES 



A handkerchief used during colds 
should be destroyed! Kleenex made this 
possible. Disposable— yet amazingly in- 
expensive. 




Two forms of Kleenex are particularly 
pleasing to men — the pocket package 
(containing regular size tissues) and 
the extra large size tissue. 




KLEENEX 



Children's colds are likely to have seri- 
ous complications— they need the protec- 
tion Kleenex gives. 



85 



CORNS 

INSTANT,SAFE RELIEF! 




Quickly Removes Corns! 

In one minute corns, callouses and bunions 
stop hurting. That's how quick Dr. Scholl's 
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edge cushions and shields the sore spot, sooth, 
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new or tight shoes easy on the feet; keeps 
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toes heal overnight. No 
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Don't Cut Your 
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and risk blood-poisoning. 
To remove theni quickly 
and safely, use Dr.Scholl's 
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specially Medicated Pink 
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Write for 

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and booklet on Care of 
the Feet, to Dr. Scholl's, 
Inc. Dept. 10, Chicago. 

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Zino-pads 

Put one on — the pain is gone! 



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latest REDUCING BRASSIERE 

gives you that trim, youthful fig- 
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HIP.' WAIST and ABDOlillNAL 
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Clothes Gossip from Hollywood 




$3.50 




I measures. Laced at back 
RELIEVE swelling and 
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14-inch $6.75 ■ 
ll-inch (not covering foot) . . . .$3.75 ' 
All garments are made uf pure gum rub- 
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Send checli or money order — no cash. 

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SOHC WRITERS 

Substantial Advance Royalties 

are paid writers of songs found 
acceptable by publishers. Send 
us your best songs or poems for 
free examination and advice. 
Past experience unnecessary. 
We compose or arrange music 
and secure copyrights. Write 
today for our free explanatory 
booklet. Newcomer Associates, 
1674 A. Broadway, New York, 




{Continued jrom page 4 j) 



However, there is one big difficulty in dis- 
carding the girdle — it does away with the 
stocking supporters and makes stocking 
"rolling" almost a necessity. Now, a lump 
of a badly rolled stocking can ruin the line 
of the loveliest frock. Kalloch uses pretty 
little Helen Mack, who is appearing in "The 
Yankee Bandit," as a model for correct 
stocking-rolling. His Don'ls are: Don't roll 
your stocking directly at the knee, for every 
time you sit down the bulge will show across 
the front of your skirt. Leaving about three 
or four inches abo\e the knee, roll the stock- 
ing in the neatest, flattest way possible. 

A great many people belie\e that Adrian 
of M-G-M does his nicest and most wearable 
clothes not for extreme Joan Crawford, nor 
ultra Norma Shearer, or "glamourous" 
Garbo, but for such girls on the lot as Karen 
Morley, and particularly Madge Evans. 
Certainly in "Fast Life" opposite William 
Haines and Conrad Nagel, Madge wears a 
series of the sort of evening gowns that every 
girl would like to have in her wardrobe "if 
only. . . ." 

Madge Doesn't Need Necklaces 

THERE is a scene in the picture in which 
Madge is trying to teach Conrad a 
"lesson" by flirting with William Haines, 
and for this exciting occasion Madge wears 
a grand white crepe satin evening gown with 
long, full sleeves and an unusually high neck- 
line. It sounds severe for a girl as young as 
Madge, but the youthful, fluffy note is sup- 
plied by a white fox "trim," which goes deep 
o\er each shoulder in front and back. The 
high neckline for evening is very, very good 
and don't wear beads or a necklace with it. 
If you just can't get along without your 
rhinestones, the tight-fitted sleeve at the 
wrist will permit a bracelet. 

A little later on, when Bill Haines comes 
to Madge's cabin on the yacht to tell her 
just how much he thinks about her. she 
wears a pale blue organdie with a ruffled 
cape effect at the shoulder that would serve 
as the perfect bridesmaid's or girl gradu- 
ate's frock for Miss America. 

All you girls who love lovely clothes are 
going to break down and weep during that 
scene in "Under-Cover Man," starring 
George Raft and Nancy Carroll, in which 
Nancy's beautiful little evening gown is 
"ruined " (yes, they wrote it in the scenario) 



when a glass of wine is spilled on it. Lew 
Cody is right there to help Nancy save her ' 
dress, which is altogether too adorable to 
have to go through such a scene. It's made 
of the sheerest sort of white lace over a form- 
fitting satin slip, but it is far from being 
"just another white lace dress." Perhaps 
its most distinctive features are the "high- 
back neckline" and the very short, lacy 
sleeves, which do nothing toward detracting 
from its formal note. 

Carole's Gown Dazzled Gable 

IT was a severe blow to the Paramount 
wardrobe department when Miriam Hop- 
kins decided that her role opposite Clark 
Gable in "No Man of Her Own" wasn't 
suitable for her particular talents. All of 
Miriam's clothes were "made up and ready 
to go" . . . when all of a sudden the design- 
ers got word to make up a complete new 
wardrobe to fit the type and personality of 
Carole Lombard. 

In spite of the hurry, the designers did 
themselves proud. Wait until you see the 
very snappy love scene between Carole and 
Clark, where Carole wears this pearl-satin 
evening gown, with a short-sleeved jacket 
of the same material trimmed with sable. 
The jacket looks like part of the frock and 
can be worn when the wearer prefers a less 
formal decollete line. The jacket ties with a 
large, flowing sash at just below the hipline. 
W'hen Carole wore this on the set for the 
first time, even Clark Gable gasped. 
"Whew!" said Clark. "Whatta dress." 
Coming from Whatta Man, that's no mean 
compliment. 

And speaking of love scenes, Monroe 
Owsle)' wasn't exactly immune when Clara 
Bow appeared on the "Call Her Savage" 
set wearing one of those "girlish" effect 
evening gowns that are so popular for the 
early Spring months. The material is peach 
Elizabeth crepe. The superimposed peach 
blossoms on the skirt and sleeve caps are of 
peach chiffon velvet with pearl centers. The 
gown was designed especially for Clara by 
David Cox and created in the Fox Films 
wardrobe department. Next month's fash- 
ion gossip 'will take you through clothes and 
clothes gossip from the most attractive new 
productions in every studio. Wait until you 
see what Joan Crawford is wearing in her 
new one! . . . 







A couple of well-dressed screen girls step out to the pet show in New York — and get 
hairs on their nice clothes. Left, Helen Twelvetrees holds a prize Angora, and right, 
Florence Lake cuddles a raccoon, of all things 




This is Jean Hersholt's favorite portrait. 
Jean is the proprietor of a German beer 
garden in "Flesh," Wallace Beery's new 
picture and above you see him guzzling a 
glass of beer 



News and Gossip of 
the Studios 

{Continued from page ^ 9) 

MAUREEN O'SULLIVAN may be ru- 
mored That Way about Jimmy 
Dunn, but we understand it's George 
O'Brien who has a lien on her affections for 
the moment. That location trip for "Rob- 
bers' Roost" in the wide open spaces of 
Arizona must have been becoming to 
George's outdoor type of good looks. 

PALM SPRINGS officially "opened" for 
the season recently when the EI Mirador 
Hotel threw open its doors. The town was 
crowded with Hollywood folk, the women 
all wearing shorts and riding bicycles around 
the streets. From now on, much of the 
romance news will emanate from the desert 
resort. 

TONY, Tom Mix's old horse, which has 
carried the star through countless ad- 
ventures for more than twenty years, has 
been pensioned to pasture. His last act was 
to fall on Tom and knock him out with a 
couple of broken ribs, thus chalking up two 
more to the long list of injuries that Mix has 
received in his varied and exciting career. 

YOUNG John Cabot Lodge, the blue- 
blood Boston lawyer who gave up his 
career to become a movie actor when the 
studios spied his Gable-ish good looks during 
a visit to Hollywood, may not play opposite 
Mae West, after all. Still, the studio is 
reluctant to abandon "Honky Tonk" with 
the two of them in the cast. The contrast 
between their backgrounds would make 
such good publicity stuff, they feel. 

LOOKING on the set of "Cavalcade" 
^ when the great Armistice Day celebra- 
tion was filmed were Clive Brook and Boris 
Karloff, Englishmen, watching with senti- 
ment-misted eyes. The last time Boris saw 
Trafalgar Square, he told us, was twenty- 
four years ago ! 

THE girls are all having their long hair 
cut short. Alice White's very blonde 
hair is shoulder-length. Katharine Hep- 
burn's wild brown locks bush out about the 
same length. Constance Cummings has just 
cut a really spectacular head of golden hair. 
{Continued on page 8g) 





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87 




LOST! 

30 Ihs. of Fat 

You see people all about you who have lost 
their excess fat. In every circle nowadays nearly 
everyone is slender. 

People have found a way to reduce which is 
easy and pleasant and prompt. It combats the 
cause of fat formation, which usually lies in a 
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look today. 

That way is Marmola prescription tablets, 
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You should know Marmola if you overweigh. 
Style and beauty, health and fitness call for 
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so many people know a way to end it. 

A normal figure will mean much to you. Go 
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Marmola prescription tablets are 
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If your druggist is out, he will get 
them at once from his jobber. 

MARMOLA 

PRESCRIPTION TABLETS 
The Real Way to Reduce 



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Gray Hair 

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Mary Pickford Starts ''Secrets" 
All Over Again 



{Continued from page 66) 



that still, small voice within me to be 
drowned out. I shall never close my ears 
to it again — " 

Mary is a Queen who loves her realm 
with a lo\e so profound that no sacrifice is 
too great for her to make for it. A Queen 
who is faithful to the people she loves — not 
only in letter, but in spirit; not only in word, 
but in deed. 

Always Wants to Live There 

MARY once said to me, "If the day 
comes when I no longer have any- 
thing to do with pictures, and if it were 
necessary, I would live in a little shack in 
the Holl^'wood hills — just so I could be near 
my own people, the people of the screen, 
feel their presences, know about them — " 

And Alary did sacrifice indeed when, those 
two years ago, she cancelled the production 
of "Secrets." On the day the picture was 
called off, she checked out 587,000! All in 
all, that unfinished picture cost her $300,000. 
Film costs. Set costs. Costume costs. Sala- 
ries — all the underlying expenses of such a 
production. 8300,000 — an enormous sum at 
any time, for anything. An enormous price 
to pay that a still, small voice might not 
speak in vain. 

And Mary said to me, the other day, "If 
this new production of 'Secrets' should be 
half-finished and if, again, I should find that 
something was lacking, / -would do the same 
thing over again. 

" Vou see, I knew, that other time, almost 
from the beginning, that something was 
wrong. Something, somewhere. At first, I 
couldn't quite put my finger on it. They 
told me, the others, that I must wait, that 
it would be all right, that the story simply 
needed editing, pointing up a bit here and 
there. I listened to them — too long — and 
was uncon\inced. Then I came to know 
what was wrong — the mood and the spirit 
were missing. Those two intangible qualities 
without which any picture, however preten- 
tious, is flat — and with which the simplest 
story is forever memorable. Perhaps the 
camera was not flexible enough. I felt, all 
along, that we were photographing a stage 
play. We were missing that greatest prov- 
ince of motion pictures — the compliant cam- 
era. Most of all, we simply did not have 
the mood, the spirit — somehow the deed was 
not infused with the dream. 

"And so, though it broke my heart and, 
I am afraid, the hearts of some of the others, 
I called them all one night and told them 
we were finished. 

Felt She Was "Through" 

I FELT, that night, that I would never 
make another picture. I was going 
through my 'retiring' phase ..." Mary 
laughed. "Douglas says he can alwa^-s tell 
where I am in production by my attitude 
toward my work. When I am just beginning 
a picture I am, literally, at the very begin- 
ning of my career. I am enthusiastic. I 
hav'e no thought of anything other than 
going on with my work fore^"er. About mid- 
way through the picture I begin to remark 
that the screen is, after all, very hard work 
— I wonder if it is worth it. And at the end 
of the picture I firmly announce my inten- 
tion of immediate and permanent retire- 
ment. . . . This goes on, chronically, 
through every picture I make and has gone 
on ever since my first stories — " 

That, then, is the secret of the first "Se- 
crets" — $300,000 of money, and hopes and 
work and dreams tossed away because two 
fragile things called Mood and Spirit did 
not come to hand. 

Then why is Mary going back to that 



failure, to make it all over again? That is 
just why she is going back — one reason why: 
because it was a failure. Because Mary, little 
and golden and serene, is of the fighting 
Irish, who cannot be defeated even by de- 
feat, who must needs wrest victory out of 
surrender. 

The other reason is that she loves this 
story. She belie\'es in it. She believes in it 
now even more, if possible, than she did two 
years ago. She feels that the public pulse 
is set for such romantic and tender things 
as "Smilin' Through" and this "Secrets" 
of hers. Of the many stories she has owned, 
"Secrets" — which was once called " Forever 
Yours" — is the one no money could buy 
from her. She owned "The Sign of the 
Cross" and sold it to Cecil B. De Mille. She 
owned " Rebecca of Sunnybrook Farm " and 
sold that, a little reluctantly, to Fox. She 
owned "Tess of the Storm Country" and 
sold that, also, to Fox. -She owned others, 
the titles of which I have forgotten, and was 
willing to part with them. But no offers, no 
entreaties could prevail upon her to part 
with "Secrets," though it seemed to lie 
buried under a lost fortune and broken 
dreams. 

A Heroine She Likes 

MARY believes in the character of Mary 
Carlton, that woman who gave an 
unswerving and life-long devotion to one 
man, despite the hardships and humiliations 
and infidelities to which he subjected her. 
Of this same stuff of loyalty, you see, is this, 
Our Mary, made. 

And so, she has begun again. By the time 
you read this story, the new version of 
"Secrets" may be well on its way to com- 
pletion, may even be completed. Mary 
hoped it would be finished before Christmas 
so that she could gi\e her whole heart to 
the rousing, old-fashioned Christmas they 
celebrate at Pickfair. Mary gives Douglas 
dozens of presents. Last year she gave him 
sixty-eight. She shops the whole year 
through for her family, for her friends, for 
the studio staffs, for her servants. Whenever 
she sees anything she thinks might appeal 
to Douglas, to brother Jack, or sister 
Lottie, she buys it. She has a glittering, 
old-fashioned tree; the Yule log blazes; tur- 
key and burning plum pudding and hung- 
up stockings are all a part of Pickfair 
Christmas . . . 

But if, midway through this new version 
of "Secrets," Mary should find that mood 
and spirit had again eluded her, she would 
do again what she did before — 

This time, everything but the essential 
story is changed. Frances Marion has done 
the script. Frank Borzage (who just di- 
rected "A Farewell to Arms") is directing. 
Adrian, of Metro-Goldwyn-Mayer, is de- 
signing the costumes and they are as lovely 
as the character of the woman who wears 
them. Not one member of the old cast, save 
Mary, will appear in this one. And every 
eligible leading man in Hollywood has been 
considered, tried, tested, all but signed and 
then reconsidered for Mary's lead. She feels 
the tremendous importance of this man's 
part. 

Leslie Howard Fills the Bill 

THE whole heart of the stocy depends 
upon whether or not other women will 
feel in this man that quality which, despite 
everything, makes Mary Carlton cleave to 
him, unfaltering and staunch. He must be 
a man who can look young and adventurous 
in the first part of the picture and fortyish 
and dignified in the latter part. 

Mary rather wanted Gary Cooper. She 



thought of Fredric March, of Richard Dix, 
of George Brent and Lyie Talbot and James 
Cagney and Gary Grant and Weldon Hey- 
burn. Weldon Heyburn, in fact, had his 
fountain pen in hand to affix his signature to 
the contract. She thought of LesHe Howard 
— and it is Leslie Howard, finally, who will 
play opposite Mary. I'm glad, if I may in- 
trude myself. I ■wanted Alary to have Leslie 
Howard all along. I know that she is glad, 
too. 

She said, when we were talking the other 
day, "There are two men on the screen who 
are more than talented actors, two men who 
are geniuses — one is Paul Muni and the 
other is Leslie Howard." 

Gilbert Wilson, Elsie Janis' husband, is 
to make his first appearance in this picture. 
Mary will introduce him to the screen and 
she believes that this introduction will be 
only a prologue to a long screen career for 
him. 

And these are the secrets of "Secrets" — 
that Mary's still, small voice said "No" to 
the first version — but said "Yes" when the 
fighting Irish in her could not brook defeat; 
when her spirit clove to the spirit of Mary 
Carlton, rejecting all other characters in all 
other stories; when her belief rose above 
lost sums of money and lost time and lost 
hope, and her heart had faith in the spirit 
and the mood. 



News and Gossip of 
the Studios 

(Continued from page 87) 

That roll-on-the-neck style was too much 
work, they explain. 

THE King Vidor-Eleanor Boardman 
marriage breaks up at last. And for the 
first time in recent Hollywood history 
another woman is mentioned in the com- 
plaint — King's script girl on recent pictures. 
In asking for separate maintenance and 
custody of their two little girls, Eleanor 
asked the court to restrain King from dis- 
posing of community property valued at 
$1,000,000, and called the famous director 
"sullen, insolent and arrogant." 

CAN you picture the glamourous Lilyan 
Tashman and the sua\e Edmund Lowe 
as we saw them yesterday, perched on stools 
at the corner drugstore, sipping ice cream 
sodas through a straw? Eddie kept the tele- 
graph wires hot during Lil's recent illness in 
New York. They seem the most devoted 
couple in Hollywood. 

THE Edmund Gouldings did three dol- 
lars' worth of damage to a black onyx 
ash tray and $3.50 damage to an axe while 
they lived in her house, the landlady 
asserted in a damage suit. One can imagine 
how damage might have been done to an 
onyx ash tray, but we're still wondering 
what Eddie could have done to that axe. 

BUSTER CRABBE, this month's Nominee 
for Stardom, and Johnny Weissmuller 
are not only rivals as to girth and jungle 
love-making, but close pals, as well. "Just 
what do you mean by going Hollywood?" 
Buster asked us seriously. Well, Buster, we 
mean that when you find yourself powdering 
your nose without being ashamed of it, and 
when you discover yourself looking into the 
mirror oftener than is necessary, and when 
you begin to believe what the girls write you 
— you've "gone Hollywood"! 

OLD-TIMERS will receive with great 
rejoicing the news that that famous 
old comedy, "Tillie's Punctured Romance," 
is about to be re-issued with sound effects. 
In the cast were Charlie Chaplin, Marie 
{Continued on page g8) 



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Answers to Your Gossip Test 

{Continued from page 6) 




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1. James Dunn was Maureen O'SullIvan's 
escort at the Hollywood bike races. Their 
romance is one of those off-again-on-again 
affairs, and although Jimmie is often seen 
dining and dancing with \'arious Hollywood 
beauties, Maureen always seems to be his 
favorite. 

2. The smiling girl is Clara Bow and the 
gentleman with her is Rex Bell, her husband. 
They're both happy because they are bound 
for Europe and this is their first trip abroad, 
but they're mostly happy because Clara's 
return to the screen in "Call Her Savage" 
pro\es what a fine actress she is. 

3. Jeanette Loff, who has been absent from 
Hollywood for some time, seems to ha\e 
been able to make Gilbert Roland forget all 
the other girls he has been interested in since 
his break with Norma Talmadge, if you care 
to belie\-e the idle tongues of the cinema 
city. Miss Loff is planning to go on tour 
with Buddy Rogers and his band on the 
West Coast and later hopes to return to the 
screen. 

4. Greta Nissen and Weldon Heyburn, mo- 
tion picture actor and former football star, 
who were married in Tia Juana, Me.xico, 
March 30, 1932, and separated after a few 
months of wedded life, have been reconciled 
and there will be no divorce. 

5. Ian Keith, who was secretly married to 
Baroness Fern Andra, German motion pic- 
ture actress, filed a bankruptcy plea listing 
his liabilities at about $6,700 and his assets 
only Si, 950. Keith was divorced from Ethel 
Clayton not very long ago. 

6. Betty Hill, a motion picture script girl, 
is the girl in\olved in Eleanor Boardman's 
action for divorce from her husband. King 
\'idor, the prominent screen director. 

7. Richard Arlen's wife, Jobyna Ralston, 
who was Harold Lloyd's leading lady before 
her marriage, has temporarily moved to 
Palm Springs, where she will await the long- 
legged bird that is kept so busy in Holly- 
wood these days. The Arlens were married 
in 1927 and this will be their first child. 

8. Because she made the trip to New York 
to be with her husband, Dr. Francis Griffin, 
a dentist, during his convalescence from an 
appendicitis operation, Irene Dunne didn't 
relish what the gossips had to say about the 
trip's being made for the purpose of a 
divorce. Irene insists she is still very much 
in love with her husband, even though their 
professions separate them a good deal of the 
tiine. 

9. Charles Farrell asked Fox to release him 
from his contract and his request was 
granted; therefore, unless something un- 
foreseen happens and Charlie returns to 
Fox, you will never see your fa\orite Gay- 
nor-Farrell team together again. Charlie 
has been wanting to free-lance for a long 
time so that he could pick his parts, and now 
he has his wish; but old Dame Rumor, who 
will always have her say, seems to think 
that Farrell was unhappy at Fox because 



Janet, his team-mate, received a larger 
salary than he did and because he felt that 
Janet's parts were always more important 
than his. However, there is no ill-feeling 
about the break and Charlie and Fox and 
Janet are still friends. 

ID. Karen Morley and Charles Vidor, the* 
young motion picture director who has been 
her constant escort, are reported secretly 
wed. They are both connected with the 
Metro-Goldwyn-Mayer studios. 

11. Edwina Booth's mother recently made 
it known that her daughter is still suffering 
from some strange jungle illness, which she 
developed shortly after her return from the 
African jungle, where she had gone to play 
the blonde heroine in "Trader Horn." 

12. The award of the Academy of Motion 
Picture Arts and Sciences for the best fe- 
male performance of 1932 went to Helen 
Hayes for her work in "The Sin of Madelon 
Claudet." Fredric March was honored with 
the male award for his performance in " Dr. 
Jekyll and Mr. Hyde." 

13. Stanley Smith leads the orchestra at the 
famous Biltmore Hotel in Los Angeles, 
which is a rendezvous of famous film folk, 
when he is not at the studio engaged in film 
work. He recently played a part in Nancy 
Carroll's picture, "Hot Saturday." 1 

14. Adolphe Menjou and his attractive 
wife, Kathryn Carver, who were about to 
be divorced, have decided it was all a mis- 
take and they are starting over again, with 
both promising they will try harder than 
ever to make a go of it this time. Here's 
hoping they succeed because they are really 
very fond of each other. 

15. They say Tallulah Bankhead lost her 
heart to Anderson Lawlor, a newcomer to 
the movies, just before she departed from , 
Hollywood, where they were seen dining and I 
dancing together \ery often. Miss Bank- ■ 
head is planning a return to the London 
stage. 

16. Katharine Hepburn's excellent per- 
formance in "A Bill of Divorcement," 
starring John Barrymore, which was her 
first screen attempt, won immediate star- 
dom for her. Miss Hepburn is under con- 
tract to RKO and will be starred in "Little 
Women." 

17. According to Hollywood rumors, Wynne 
Gibson likes two Hollywood boys very 
much, but no one can find out which of the 
two is the favorite and Wynne is not \'olun- 
teering any information. Lyle Talbot, the 
screen actor, is one of the boy-friends and 
the other is a young studio executive, Arthur 
Lubin. 

18. Louise Fazenda, popular motion pic- 
ture comedienne, who is the wife of Hal 
W'allis, motion picture executive, announces 
that she expects the stork to pay her a visit 
soon. Mr. and IMrs. Hal Wallis have been 
married about five years and, like the 
Arlens, are awaiting their first child. 



iHd You Knoiv That — 

Garbo denies she ever wrote a "signed" story about her attitude toward romance, published 
a few weeks ago in a weekly magazine? 

Theodore Dreiser, author of "An American Tragedy," who moaned so loudly over what the 
movies did to his story, has just sold "Jennie Gerhardt" to the selfsame movies? 

The play that Tallulah Bankhead may do on Broadway is "Party"— for which M-G-M owns 
the film rights? 

Clara Bow is all signed up for at least three more pictures? 



90 



Hero to Two 
Million Kids! 

{Continued from page 64) 

Boys Are Still Boys 

"T)HOOEY!" says Buck Jones again, a 

JT^^trifle louder. "Boys to-day like just 
exactly what boys have always liked — ad- 
venture and romance. Boys are the ones 
that have kept Westerns on the screen. 
They're the ones whose quarters and dimes 
make cowboy films pay better than the most 
gorgeous sex pictures or gangster films. 
Kids living in penthouses, listening to 
radios, driving high-powered cars, still 
dream that the West is a big plain filled 
with buffalos and Indians and cowboys. 
They ha\'en't changed a bit. This Younger 
Generation talk is all rubbish!" 

Buck should know about what kids used 
to want, because, some twenty-five years or 
so ago, he was one, himself, milking cows on 
a Hoosier farm and dreaming of herding 
cattle on the prairies. Later he attended 
grammar school in Indianapwlis, with visions 
of bucking broncos and round-ups between 
him and the printed page. But where most 
boys only dream of becoming cowboys, 
Buck actually ran away and became a 
humble helper on a chuck-wagon on a real 
Western ranch at the age of fifteen. From 
chuck-wagon, he advanced to horse-wran- 
gling; ne.xt he brought in the "drag" 
(rounded up stragglers from the herd); and 
finally he became a full-fiedged top hand. 

Buck Jones should know all about what 
modern boys want — and modern girls, too, 
for that matter. For he has two million and 
a half of them enrolled as fans in the Buck 
Jones Rangers Clubs. Write it in figures 
to get the breath-taking numbers of them — 
2,500,000 boys and girls, each wearing a 
Buck Jones emblem, or arm-stripe or but- 
ton, each pledged to good deeds and clean 
living and high ideals, and to see all the 
Buck Jones pictures that come to town! 

Youngsters on the crowded sidewalks of 
New York's East Side, dreaming of being 
cowboys someday. Youngsters in Boston's 
Back Bay section driven to the movies in 
limousines. Youngsters in Kalamazoo and 
Peoria and Walla Walla. Freckled kids, 
snub-nosed kids, tow-headed kids, farm 
boys and city boys — children of the Ma- 
chine Age all of them, and all of them 
crowding to see pictures of cowboys riding 
horses down mountainsides to rescue ladies 
in distress, all of them clamoring to wear a 
celluloid button and join a Club! It has a 
reassuring sound after what the alarmists 
have told us. Maybe the world isn't going 
to the dogs, after all ! 

His Own Child Gave Him Idea 

" TT makes a man feel sort of responsible," 
_L Buck admits, "having all those young- 
sters looking up to him, wearing badges 
with his name on them. I had no idea how 
my Rangers would take hold when we 
started the Clubs a year and a half ago. 
It was my own little girl, Maxine, who gave 
me the idea. She is crazy about riding, and 
it occurred to me that there were probably a 
good many like her. Now, new chapters are 
forming every week, and they all want me 
to come on and start things off! I go, too, 
whenever it's possible. 

"Did you ever face a couple of thousand 
kids? It's an experience. But young- 
sters are easier to handle than a crowd of 
grown-ups. I just call a few out of the 
group, here and there, and tell them I'm 
making them lieutenants. They do the rest. 
Give a boy a little authority. Treat him like 
a responsible human being, and you've got 
the greatest potential power on earth right 
at hand. Talk about man-power — it's 
nothing to kid-power!" 

Buck Jones, so people in his company tell 



3 AGELESS SECRETS 




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me, often goes four or five days on location 
without speaking a word. He answers in 
monosyllables when asked about his own 
likes and dislikes, personal habits or his 
experiences fighting the Moros in the 
Philippines, or patrolling the Mexican bor- 
der in the Sixth Cavalry. 

Buck was married to Ollie Osborne, a 
circus bareback rider, in Madison Square 
Garden in an afternoon performance of the 
1 01 Ranch Show; both were on horseback. 
He once owned his own herds and ranches 
where his pictures were taken, and lost 
them and his entire fortune when he tried 
to defy the circus trust and take out his own 
show three years ago. He is the real-life 
hero of a hundred man-sized exploits of 
daring and danger. But you won't hear 
about these things from Buck. 

One Man Quieter Than Buck 

'" I HE only person who can beat Buck at 

JL being taciturn," says a friend of many 
years, " is D. \'. Tantlinger, who was his first 
foreman when he was a kid with the Big \' 
outfit in Oklahoma. One day the two of 
them were riding the ranges. They had 
tra\'eled for three hours without a word, 
when Buck saw a cloud of dust on the 
horizon. He pointed it out to D. W 'Cows?' 
he asked. The foreman looked at him with 
disgust. 'Son,' said he, 'you'll never 
amount to much if you chatter like that!'" 

But on one subject — his Rangers — he is 
not only talkative, but positively garrulous. 
"Clubs like my Rangers, and Western pic- 
tures," says Buck, "are keeping a fast-dis- 
appearing phase of .'\merican life alive. The 
cowboy, as a hard-working, fast-riding, 
straight-shooting individual, is almost ex- 
tinct to-day. The great cattle herds ha\e 
been driven off the map by lack of grazing 
land, and b\' competition with the cheaper 
beef of the Argentine, where there are still 
plenty of cowhands that the>' call gauchos. 
It's only in Wyoming and .'\rizona that you 
still find real range life left in .'Xmerica. 

" But the old West of romance and fiction 
and adventure is kept ali\e by the movies. 
Cowboy pictures will always be popular, as 
long as there are kids growing up who want 
to believe in a Wild West where things are 
different from the life they know. You talk 
about the ^'ounger Generation being so- 
phisticated and wise nowadays! Why, 
every one of my Rangers believes that if he 
could come W"est, he'd get off the train and 
see cowboys shooting pistols and bad men 
and stage-coach robbers! You ought to 
read the letters they write!" 

Three years ago, Charles (Buck) Jones 
stood in full cowboy regalia on the streets of 
Hollywood, broke, as he had stood ten 
years before, wondering whether or not he 
could get a day's job as an extra. He had 
been a star. He had owned two score of 
blooded horses, two ranches and a gorgeous 
Spanish hacienda home. Now they were all 
gone, swept away by his disastrous \enture 
in taking out a small circus on his own 

Buck drew a deep breath, and grinned. 
"Well, anyhow," said he, " I got that circus 
as far as Chicago in spite of 'em!" 

Not such a bad chap to be the hero of two 
and a half million kids! 

Since his return to the screen, these are 
the pictures he has made — the pictures that 
have won him his huge and intimate follow- 
ing: "The Lone Rider," "Shadow Ranch," 
"Jtlen Without Law," "The Dawn Trail," 
" Desert \'engeance," "The Avenger," "The 
Fighting Sheriff," "The Texas Ranger," 
"Branded." "Range Feud," "The Dead- 
line," "Ridin' for Justice," "One-Man 
Law," "High Speed" (which was about 
automobile racing, not cowboys), "South of 
the Rio Grande," "HelloTrouble," "McKen- 
na of the Mounted," "White Eagle," "The 
Forbidden Trail" — and now he is making 
"The Sundown Rider." Even the titles of 
his pictures give Young America a thrill! 




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Freckles, Blackheads, 
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92 



The Movie Circus 

{Continued from page 12) 

it! I rushed over to him and ^-elled that if 
he didn't quit, I'd murder him. And I 
would have, hmb by limb. I guess I lost 
my temper. I know I've lost all taste for 
that guy's singing." 

AND thoughts of bigness lead us to 

l\ inform you that Paramount has found 
the big boy it has been seeking for the part 
of The Lion Man in "King of the Jungle." 
He is Buster Crabbe, the swimmer-champ, 
and Johnny W'eissmuUer's good friend. He 
is built along the same lines as Johnny, and 
is even better looking. Does thus begin the 
end of a beautiful friendship? 

THAT waggish fellow, Pat O'Brien, 
had his laugh at the expense of one of 
those fashion artists the other day. Pat 
stopped the fellow on the lot and pointed 
to the stripes and ball and chain which are 
his clothes for the chain gang film he is 
working in. "Don't you want a picture of 
me?" he asked. 

"A picture of you?" the fashion expert 
gasped. 

"Sure — to show what the badly behaved 
man is wearing this season." 

WILLIAM FARNUM is not averse 
to repeating an experience. Eighteen 
years ago Bill made screen history in his 
battle with the late Tom Santschi in "The 
Spoilers." The other day he staged a simi- 
lar brawl with Tom Mix in a film. When 
it was over Bill gasped, "That fight in 'The 
Spoilers' started me — and this one just 
about finished me!" 



REMINISCING, ten years ago Marie 
^ Dressier made a fur coat out of a rug 
and wore it with great pride in a ^^'eber and 
Fields show in New York — while her "side- 
kick," Polly Moran, was doing a single on 
the Orpheum Circuit in one of those kidding- 
the-orchestra-leader bits. 

THE height of something or other is 
this new game. Scavengers, which 
freckled Katharine Hepburn brought back 
from Paris. The hostess sends out invita- 
tions for cocktails at four, \\hen the guests 
arrive, however, they are given a paper list 
instead of drinks. On the list are the names 
of a number of articles. The guests must 
go out and get those things. If they fail — no 
dinner. 

The object is to make the quest as difficult 
as possible. The list may include a movie 
star's autograph, a paving brick, a jar of 
a certain brand of apple sauce, rare flowers, 
cheeses or anything out of the ordinary. I 
don't know, but it sounds kinda nertsy. 
These Hollywood people think up such 
amazing things! 

To Tell You the Truth Dept. 

WALLY BEERY once was a section 
hand . . . Zasu Pitts wears a shawl and 
crocheted slippers on the set, between 
scenes . . . One of the Japanese girls in 
"Madame Butterfly" changed her name to 
Valerie O'Hara . . . Charlie Laughton has 
an ambition to play the father of the 
Katzenjammer kids . . . Tala Birell's name 
really is spelled Bierl . . . Joan Crawford 
has 600 pairs of shoes . . . John Miljan, the 
heavy, raises canary birds . . . When kidded 
about not going through with his planned 
trip to Turkey, Groucho Marx answered 
"Is my fez red?" . . . Those who have the 
habit of carelessly flipping a coin up and 
down are said to be "doing a George Raft" 
. . . And so it goes in this place called 
Hollywood. 



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Seeing '^Cavalcade" thru 
Hollywood's Eyes 



{Continued from page 41) 



telling is definitely British. Any effort to 
Americanize it would destroy its fabric. 

Desiring to hold to the original spirit of 
the work, Winfield Sheehan, production 
chief of Fox, ordered a hundred per cent 
English production — the cast, director, even 
the production crew, must be British-born 
and bred. As a result of this edict, Borzage 
was replaced by Frank Lloyd in the direc- 
torial assignment, and Captain Reginald 
Berkely, M. P., noted English dramatist, 
was brought to Hollywood to write the 
screen play. 

The casting of the picture presented 
greater difhculties than anticipated. Fo.x 
discovered that, while there are many Eng- 
lish accents on the screen, few are authentic. 
Clive Brook, borrowed from Paramount, 
was given the leading role of Robert Marryot, 
but over two hundred tests were made for 
the part of Jane Marryot, his wife in the 
script. Ann Harding or Irene Dunne would 
have been ideal, had they not been Ameri- 
cans. Elissa Landi, Edna Best and Fay 
Compton were strongly fax'ored. The final 
decision gave the much-contested role to 
Diana Wynyard, a comparative newcomer 
from London, whose first screen work was 
with the Barrymores in "Rasputin." 

The search for other members of the cast 
was conducted as slowly and carefully. A 
dialogue director was sent to England to 
test members of the original stage company, 
three of whom, Una O'Connor, Irene Browne 
and Merle Tottenham were signed, the lat- 
ter because of her giggle. Ursula Jeans and 
Frank Lawton also came from London. 

Brought London to Hollywood 

MEANWHILE, all the other depart- 
ments of the studio were equally busy. 
Six acres on the Fox lot were laid out in sets, 
including a dozen London streets, the mam- 
moth Trafalgar Square, .St. Paul's Cathe- 
dral, the Caledonian Market, \ ictoria Sta- 
tion and Kensington Gardens. A whole 
warehouse was filled with imported "props." 
Twenty-five thousand costumes, costing 
more than ten times that sum in dollars, 
were created. More than two hundred rare 
old books were purchased to be added to 
the research library. 

Six months of preparation preceded the 
actual filming of " Ca\'alcade." It was in 
May that Borzage went to London, but not 
until October was the first scene filmed. A 
fifty-four-day shooting schedule was ar- 
ranged and a million dollars budgeted. Di- 
rector Lloyd finished the picture a day ahead 
of schedule and under cost. Such is the 
value of a carefully-laid foundation. 

Oddly enough, the first sequence you will 
see on the screen was shot the first day. 
The date is December 31,1 899, and the hour 
near midnight. Jane and Robert Marryot, 
a young and well-to-do English couple, are 
preparing a toast to the New Year and the 
dawn of a new century. Bridges and Ellen, 
man and wife, butler and maid to the 
Marryots, are in\'ited to join the toast. W'hy 
not? Marryot and Bridges will soon march 
away, side by side, soldiers of the C. I. V., 
sailing for South Africa and the Boer War. 

You and Hollywood will both see the same 
drama in this scene. Hollywood, however, 
will look at details that may escape you. 
The quaint old costumes, for example, are 
more than quaint or old in Hollywood's eyes. 
They are the results of months of research, 
carefully copied by the wardrobe depart- 
ment from exact models of the day. And 
the room, a lovely old room furnished with 
real antiques. That picture on the wall? 
You can barely see it in outline. But it 
came from England with several carloads 



of other 1900 furnishings. That vase, too. 
And the knick-knacks on the library table. 
Why all this attention to detail? Simply 
because things like these are small parts of 
a perfect whole. 

An All-Important Nightgown 

STREET noises from the celebrating 
throngs — you only heard them on the 
stage; you see and hear them on the screen — 
awaken Ediuard and Joey, the Marryots' 
small sons. Their parents go to the nursery 
to reassure them that this is only the din 
of a new century. 

The nursery is, likewise. 1900. And what 
sort of nightgowns did little English boys 
wear in that >ear? The research depart- 
ment was asked, but didn't know. It was 
discovered that nightgowns were then made 
of flannelette. This knowledge was obtained 
from newspapers of the period, which re- 
ported many children burned by standing 
too near open fireplaces in flannelette night- 
gowns. Fire-screens were invented to mini- 
mize the danger. 

Though flannelette was definitely estab- 
lished as the material, Frances Richardson, 
head of research, was no nearer the solution 
of how nightgowns were made. At last, she 
chanced to recall that among her acquaint- 
ances was an Englishwoman whose grown 
son was a small boy in that year. A frantic 
'phone call. Did the friend recall how her 
son dressed for bed in 1900? Just a general 
idea would do. 

The friend had better than a general idea. 
She had a real nightshirt, which had been 
saved as a childhood memento. That shirt 
was obtained, copied and returned with 
many, many thanks. Remember this little 
incident when you see "Cavalcade." 

The C. I. \\ sails for the Boer War. Jane. 
the lady, and Ellen, the maid, go to the 
dockside to bid their men farewell and God- 
speed. A thousand people swarm the wharf, 
civilians and soldiers, wives, mothers and 
sweethearts. A tremendous spectacle in 
which Hollywood will note the accuracy of 
costuming, the laboriously-reconstructed 
ship that exactly duplicates a transport of 
the time even down to its name, all discov- 
ered after many days of research. Holly- 
wood will see a greater spectacle because it 
sees all. Will you look as closely? 

Hard to Find Right Children 

THE scene moves back to the Marryot 
home where the children play at war 
with the young daughter of a neighbor. The 
casting of these children was one of the most 
trying problems that confronted Fox execu- 
tives. Originally, the plan was to import 
all of the youngsters needed in the play. 
Children lose their native accents more 
quickly than adults and it was deemed ad- 
visable to get English children from Eng- 
land. After much testing, the casting was 
accomplished in London, but when passports 
were applied for, an old English law was 
discovered that prohibited "children under 
fourteen being exhibited outside the country 
for profit." 

The search had to begin all over again, 
this time in the United States. If you live 
in New York, Chicago, or one of the other 
large cities of this land, you may have seen 
a large classified advertisement in >xiur local 
paper, inviting applications from parents of 
English-born children for unnamed motion 
picture work. Fox investigated thousands 
of answers so received, but the casting was 
finally completed in Hollywood. 

Then, on the first day the children ap- 
peared before the cameras. Director Lloyd 
{Continued on page g6) 



94 



What the Stars are Doing 

{Continued from page S) 

Keeler, Ruby — recently completed 42nd Street — 
First National Studios, Burbank. Cal. 

Klbbee, Guy — playing in The Blue Moon Murder 
Mystery — Warner Bros. Studios. Burbank, Cal. 

Knapp, Evalyn — playing in A ir Hostess — Colum- 
bia Pictures Studios, 1438 Gower St.. Hollywood, Cal. 

Kohler, Fred — playing in Wild Horse Mesa — 
Paramount Studios, 5451 Marathon St., Holly- 
wood, Cal. 

* * * 

Landi, Elissa — playing in The Masquerader — United 
' .Artists Studios, 1041 N. Formosa Ave., Holly- 
wood. Cal. 

Laughton, Charles — recently completed Island 
of Lost Souls — Paramount Studios, 5451 Marathon 
St.. Hollj-ivood. Cal. 

Lombard, Carole — recently completed Xo More 
(Orchids — Columbia Pictures Studios. 780 Gower St., 
Hollywood. Cal. 

Lukas, Paul — recently completed Grand Slam — 
Warner Bros. Studios, Burbank, Cal. 



MacDonald, Jeanette — latest release Love Me 
Tonight — Paramount Studios, 5451 Marathon 
St., Hollywood, Cal. 

McHugh, Frank — recently completed Grand S/o»i 
— Warner Bros. Studios, Burbank. Cal. 

Mcrkel, Una — recently completed 42nd Street — 
First National Studios, Burbank. Cal. 

Miljan, John — recently completed Flesh — Metro- 
Goldwyn-Mayer Studios, Culver City. Cal. 

Morley. Karen — recently completed Flesh — 
Metro-Goldwyn- Mayer Studios, Culver City, Cal. 

Muni, Paul — latest release / -4 m a Fugitive from 
a Chain Gang — Warner Brothers Studios, Burbank, 
Cal. 

Murray, James — playing in.4!> Hostess — Colum- 
bia Pictures Studios, 1438 Gower St., Hollywood, 
Cal. 

Nagel, Conrad — playing in Fast Life — Metro- 
Goldwyn-Mayer Studios, Culver City. Cal. 
Nissen, Greta — latest release Rackety Rax — Fox 
Studios, 1401 N. Western Ave., Hollywood. Cal. 

Nugent, Edward J. — recently completed 42nd 
Street — First National Studios, Burbank, Cal. 



akie. Jack — playing in Uptown New York — 
Tiffany Studios, 4516 Sunset Blvd., Hollywood, 



o 

Cal._ 

O'Malley, Pat — playing in The Penal Code — • 
International Studios, 4376 Sunset Dr., Holly^vood, 
Cal. 

^ ^ ^ 

pallette, Eugene — playing in Pig Boats — Metro- 
■*■ Goldwyn-Mayer Studios, Culver City, Cal. 

Pichel, Irving — recently completed Island of Lost 
Souls — Paramount Studios, 5451 Alarathon St., 
Hollywood, Cal. 

■Daft, George — playing in Under-Cover Man — 
•*^ Paramount Studios, 5451 Marathon St., Holly- 
wood. Cal. 

Robinson, Edward G. — latest release Silver 
Dollar — First National Studios. Burbank, Cal. 

Rogers, Ginger — recently completed 42nd Street — 
First National Studios. Burbank. Cal. 

Rogers, Will — playing in Slate Fail — Fox Studios, 
1401 N. Western .\ve., Hollywood. Cal. 

Ruggles, Charles — playing in Madame Butterfly — 
Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 

* * * 

Ocott, Randolph — playing in Wild Horse Mesa — 
"^ Paramount Studios,i5451 Marathon St., Holly- 
wood. Cal. 

Shannon, Peggy — latest release False Faces — 
Tiffany Studios. 4516 Sunset Blvd., Hollywood. Cal. 

Shearer, Norma — latest release .Sm/Z;n' Through — 
Metro-Goldwyn-Mayer Studios, Culver City. Cal. 

Sidney, Sylvia — playing in Madame Bulla-fly — 
Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 

Stanwyck, Barbara — recently completed Ladies 
They Talk About — Warner Bros. Studios, Burbank, 
Cal. 

Stevens, Onslow — recently completed Nagana — 
Universal Studios, Universal City, Cal. 

Stuart, Gloria — recently completed Laughter In 
Hell — Universal Studios. Universal City, Cal. 



'T'albot, Lyle — playing in The Sucker — First Na- 
■•■ tional Studios, Burbank, Cal. 

Tobin, Genevieve — playing in Infernal Machine — 
Fox Studios. 1401 N. W'estern Ave., Holh-^vood. Cal. 
I Todd, Thelma — playing in Air Hostess — Colum- 
bia Pictures Studios, 1438 Gower St., Hollj-wood, Cal. 

Velez, Lupe — playing in Hot Pepper — Fox Studios, 
1401 N. Western Ave., Hollyivood, Cal. 

VX^althall, Henry B. — recently completed 42nd 
^'Street — First National Studios, Burbank. Cal. 

Wheeler, Bert — playing in That's Africa — Colum- 
bia Pictures Studios. 1438 Gower St., Hollynvood. Cal. 

Woolsey, Robert — playing in That's Africa — 
Columbia Pictures Studios, 1438 Gower St., Holly- 
wood, Cal. 

Wray, Fay — playing in The Wax Museum — 
Warner Bros. Studios, Burbank, Cal. 

TTounfi' Loretta — playing in The Sucker — First 
■*■ National Studios, Burbank. Cal. 

Young, Robert — playing in Pig Boats — Metro- 
Goldwym-Mayer Studios, Culver City, Cal. 



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95 




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Seeing "Cavalcade" thru 
Hollywood's Eyes 



{Continued from page g^) 



stumbled across a new difficulty. He had 
wanted well-bred English children and he 
had obtained them. Only one was too well- 
bred. Little Sheila MacGill, daughter of 
Patrick MacGill, the Irish poet and former 
librarian to King George \', acting her first 
role, would not follow the director's order. 
He had told her to throw a toy cannon at 
one of the boys. And it was impolite to 
throw things. Mama had taught her that. 

Mama was found, after some delay, and 
she e.xplained that it would be all right to 
throw the toy, just this once. Wonderingly, 
little Sheila obeyed. Vou will notice how 
well when you see the picture. 

The young mother hears news of the end- 
ing of the Boer War while attending a 
theatre. Here, again, Hollywood will revel 
in the attention given details, as a comic 
opera of 1900 is presented — for Hollywood 
knows that .Sammy Lee trained a cast and 
chorus of sixty people for four weeks in 
preparation for these few brief moments. 

Some of the Famous Extras 

THE story moves on. A \'ictorian ball 
celebrating the return of the C.l.\ . is 
depicted with all the pomp and ceremony 
of the time. Among the extras and bit play- 
ers who worked in the ballroom scenes were 
many women of wealth, playing for the fun 
of it and donating their salary checks for 
the day to the Motion Picture Relief Fund. 
You may recognize, if you look closely 
among the mob, Helene Chadwick, star of 
a former day, Mrs. Ernest Torrence and 
Mrs. Montagu Love. There were several 
bearers of real titles on the set, too, among 
them Lady North and Lady Irene Spencer 
Churchill, niece of Winston Churchill. Lady 
Irene appears again later as an English war 
nurse, a part she really played for four years. 

The death of Queen \ ictoria, and the 
mourning of a nation, are briefly touched 
upon before the scene changes to a later 
date. The butler and his wife have left the 
service of the Marryots to open a public 
barroom of their own. To furnish the bar- 
room, a real old English "pub" was pur- 
chased and stripped, and its fixtures — bar, 
posters, even bottles — shipped intact. 

Joe Thompson, master of properties for 
"Cavalcade." tells an amusing tale of how 
the "pub" bottles came through customs. 
They were ordered sent empty to be filled 
with colored water in Hollywood. Imagine 
Thompson's surprise, then, when he went 
to check the shipment through customs, to 
find every bottle filled. He admits near 
heart failure when a customs inspector picked 
up a fine old brandy bottle, shook its 
gurgling contents and reached for a cork- 
screw. Fortunately for Joe, the "liquor" 
turned out to be only colored water which 
an over-zealous purchasing agent had pre- 
pared in London. Still, the inspector con- 
tinued suspicious. He insisted upon opening 
every bottle in every case. 

To get back to the children, they are 
growing up. Fanny, daughter of Bridges and 
Ellen, has become a night-club entertainer 
and young Joe Marryol is more than a little 
interested in her. Edward, the other Marryot 
son, has already married Edith, his child- 
hood playmate. They sail on their honey- 
moon — on the ill-fated Titanic. (In this 
scene, even the lettering on the life pre- 
servers is duplicated exactly.) 

With only Joe Marryol left, his mother 
dreads the approach of war. But all her 
prayers cannot stem its tide. War sweeps 
over England, carrying everything with it. 
Her husband enlists — and so does Joe. 

The story of "Cavalcade" is more con- 



cerned with the after-effects of world strife 
than with the war, itself. Two full days 
were devoted to filming war scenes that, 
when cut, will consume only two minutes 
on the screen. 

A Dramatic Day Is Relived 

SO we come to the Armistice. This is the 
big day of the picture. A tensely dra- 
matic scene will precede the demonstration 
when you see "Cavalcade" projected in 
your local theatre. This scene will show 
Jane Marryot receiving the news of Joe's 
death as the crowds outside her windows 
proclaim peace. 

By chance, rather than by design, the 
filming of Armistice Day, 1918, fell on 
Armistice Day, 1932. Twenty-fi\e hundred 
extras were ordered to fill every inch of the 
large set that had been constructed with 
mathematical accuracy to duplicate, ex- 
actly, London's historic Trafalgar Square. 

For months William Tummel, Lloyd's 
able assistant, had been interviewing Eng- 
lish men, women and children while casting 
the hundred and forty speaking parts and 
bits. He had wisely kept the address of 
every applicant and when time came to find 
twenty-five hundred people who really knew 
how England celebrated its Armistice, he 
had the list ready. 

The day began with a three-minute si- 
lence, while the thousands stood side by 
side, heads bared and bowed, facing West. 
A moment later pandemonium broke loose. 
The celebration was on. 

Hollywood knows all the inside story of 
this day, for nearly all of Hollywood turned 
out to watch the spectacle being taken. The 
list of visitors read like a roll-call of the 
studios. Ann Harding came in the evening 
to see Diana Wynyard play the big scene 
that Ann, herself, wanted to play. Beside 
her stood the English players, Ronald Col- 
man and Leslie Howard. Boris Karloff and 
Ernest Torrence, both Londoners, wandered 
around a Trafalgar Square so nearly like the 
original that they said it made them home- 
sick. An old gateman, employee of Fox, 
stood on the set, his hand caressing one of 
the three ancient taxicabs brought from 
London. 

The quest for old taxis proved extremely 
difficult. The research department discov- 
ered the fact that the first London taxi 
appeared on the streets in 1903 and the 
following year saw only four, while 1905 
brought a total of nineteen into use. Eng- 
land was scoured for cabs dating back as 
far as possible. And Props came proudly 
home with three — a 1906 Charron, a 1910 
Argyle and 1914 Unic. They all ran. Watch 
for them in the picture. The total purchase 
price was £38. Now, that's what I call 
going some, though, knov.ing what I do of 
the thoroughness with which every phase of 
this production was attacked. I am sur- 
prised they did not succeed in buying the 
original taxi. 

There were tears in many eyes, good Eng- 
lish tears, caused by this real bit of old 
London that Fox had re-created in Holly- 
wood. Don't talk to us about English senti- 
ment. We have seen it displayed with no 
embarrassment. Comrades were reunited 
with comrades they hadn't seen in years. 
A man, blinded in the War, listened to 
friends describing the celebration of peace. 

Much of this fine spirit must ha\e been 
caught by the camera. You will doubtless 
recognize it even without knowing why. 
But isn't it more interesting to know why — 
to see "Cavalcade" through Hollywood's 
eyes? 



96 



No More "Nighties" for Jeanette 



{Continued from page 27) 




Here's Jeanette MacDonald lolling in the luxurious boa-trimmed negligee she wore 

in "Let's Go Native" 



drama in place of Lubitsch-concocted naugh- 
tiness. But it's easy to see how the casting 
directors think of gaiety and Hghtness when 
it comes to casting Jeanette. There's some- 
thing musical-comedy about her and her 
surroundings, even so far away from the 
studios as Linden Drive, Beverly Hills. 

In the first place, it's a gay, big house, 
filled with sunlight, an enormous English 
sheep dog that labors under the illusion he 
is of the "lap" variety, the shrill song of a 
next-door rooster that performs all hours 
of the day and night, a constantly ringing 
telephone, and the explosive mutterings of 
a household of "international" servants, 
who appear to converse in all languages, 
including the Turkish. At odd moments an 
amiable lady, who is officially a secretary, 
appears on the scene to hurl rapid-fire and 
jovial French comments at her employer. 

The Tumult She Lives In 

TRANSLATED, these outbursts might 
mean that the handsome "cop" is at 
the door again to remind Miss MacDonald 
that her car must not remain parked in 
front of the house all night; or her gown 
shop wants to know if she wants that little 
"model"; or the neighborhood youngsters 
are at the door again . . . will she give them 
some chocolate cake? From the swinging 
kitchen door comes the highly colorful com- 
ments of a male cook, who prefers to talk 
to himself in Turkish, of all languages! 
With considerable excitement, he arrives 
to say that Mr. Bob Ritchie (Jeanette's 
perennial fiance) is calling long-distance 
from New York. What to do? What to do? 
The doorbell rings . . . the telephone rings 
... a telegram arrives . . . from upstairs 
Jeanette's mother calls, "Jeanette!" 

In the midst of this excitement, appar- 
ently unaware of the madhouse activity, 
sits the beautiful Jeanette, who has just 
had a stunning black frock ripped to pieces 
by "Captain," the behemoth hound, which 
took a notion he wanted to sit in her lap. 
Apparenth-, even dress-ripping is nothing 
unusual in the MacDonald household, for 
Jeanette merely tweaks his ear fondly and 
lets it go at that. 



However, between the handsome police- 
man's calls, the telephone, the secretary and 
the activities of "Captain," I did manage 
to learn that Jeanette is planning to inter- 
rupt her Hollywood career temporarily for 
six months of the stage and screen in Eu- 
rope. Her immediate plan is to do a musical 
show in Paris first. The pink-and-white- 
and-gold MacDonald is a tremendous per- 
sonal favorite in the French capital and, if 
the musical comedy plans fall through, she 
will do several months of "personal appear- 
ances." But her real plot is far deeper than 
that. 

She and Chevalier Part 

THE plans are too formative to announce 
at this time, but there is a strong possi- 
bility that Jeanette will make a dramatic 
picture opposite one of Germany's greatest 
and most dramatic character actors. It is 
Jeanette's private hunch that, should this 
come to pass, American movie producers 
would quickly "follow the leader" and con- 
tract her for the more dramatic offerings of 
American film fare. 

"I hope it isn't giving away any studio 
secret to let you know that it is practically 
definite that Maurice Chevalier and I shall 
not make any more pictures together. No, 
there hasn't been any quarrel, or profes- 
sional misunderstanding, between us. I ad- 
mire Maurice tremendously and I value his 
friendship. The real, honest-to-goodness 
reason back of our professional break is the 
fact that our combined salaries are too much 
for one production. As a team, we cost too 
much!" 

It developed that Robert Ritchie was set- 
ting sail that very day for France, where he 
would attend to all the little details of con- 
tract and appearances, like the good busi- 
ness manager he is. Jeanette was planning 
to follow with her mother, the secretary, 
and the international cook — not to forget 
"Captain" — within the week. But say it 
in as many languages as you like, and pro- 
test though you may, Jeanette is telling you 
in good, old, understandable English that, 
so far as she is concerned, there will be "No 
more nighties!" 



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97 




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News and Gossip 
of the Studios 

{Continued Jrom page 8g) 

SIDNEY FOX, Universal's five-foot star, 
was loaned to a foreign film company 
making an English version of Cervantes' 
"Don Quixote" at Nice, France. The 
length of the loan was for eighty days. 
Sidney practically broke a record in getting 
to Nice from Hollywood, making the trip in 
twelve days. And when she got there, the 
scenario writers were still in closed session 
on the script! Incidentally, Sidney is in 
high dramatic society. The star of the film 
is Feodor Chaliapin, the famous Russian 
singer. Even if she did have to rush a bit, 
Hollywood figures Sidney got a real break. 

RALPH GRAVES, who writes as well as 
. acts, has penned a tome called "Holly- 
wood Bridge" — and it's supposed to be 
about contract bridge. Ner\ous Hollywood 
wonders if it's going to be kidded again . . . 
And another Hollywood author is Lina 
Basquette, who has just written her first 
novel, " Flame of the Pampas," and has had 
it accepted for publication . . . Charlie 
Chaplin has just put the finishing touches 
on his story of his world trip . . . Elissa 
Landi is working on her fourth — or is it her 
fifth? — novel. 

CLARA BOW, for all her external changes, 
is still the same big-hearted Clara. 
When recently a young boy was found 
prowling on her premises and arrested, he 
said that all he was seeking was something 
to eat. Clara believed him, said she would 
refuse to appear against him, and asked 
the police to let him come in her house and 
have whatever he wanted to eat. Rut the 
police, no doubt impressed by Clara's 
hospitality, took the boy off and fed him, 
themselves. He's a Clara Bow fan now. 

VINCE BARNETT, Hollywood's pro- 
fessional "insulter" and jokester, is 
playing a role in W'ally Reery's new picture. 
Hence: 

"I see that Wally Beery likes roast beef!" 
"Yeah? Why?" 

"I see where they have gi\'en him the 
Prime Ribber!" 
Ouch! 

KATHARINE HEPBURN is a most dis- 
concerting, and to many newspaper 
reporters, a most irritating young woman. 
She has a "cute" little habit of making up 
perfectly whopping fibs about herself and 
passing the information around as authentic 
facts of her life. She told one reporter that 
she had been married so many times she 
"couldn't remember" the exact number of 
husbands. To another she "confided" that 
she had never even been engaged. One 
moment Greta Garbo is her favorite screen 
star and the next, she is quoted as saying 
that Helen Hayes is her only screen idol. 
One harassed young scribe dared to ask la 
Hepburn if it was true that she is a very, 
very rich young woman. 

"Really," she answered, "I can't remem- 
ber. What do you think?" 

THIS is almost good enough for a 
Ripley . . . but we hear that Marian 
Marsh (former leading lady to John Barry- 
more) seriously objected to playing love 
scenes with Joel McCrea ... of all people! 

Not that Marian had anything personal 
against the personable Mr. McCrea ... it 
was just that she felt the particular love 
scene in question was unnecessary to the 
story. 

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98 



CHOOSE 

your 

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forget all about "matching 
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to match your costume 



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March 




THIS MONTH IT'S 

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KATHARINE HEP6U 
by 



ASK HER A QUESTION 



SEE PAGE 30 



It^s hard for a rlungry citizen 




to b 



e a 






(jrooJ 




ITIZEN 



THE boy whose stomach is empty cannot be 
expected to do good work at school. Babies 
undernourished through another winter may be 
handicapped by frail bodies through life. The hun- 
gry father of a hungry family is hardly the marx to 
seek employment with persistence, or to do well on 
the job when he gets it. 

Before you can save a man s soul it is often neces- 
sary to feed his body. You have no right to expect 
the civic virtues of patience, courage and honesty 
from starving, freezing men and women. If they 
preserve a just attitude towards the laws of the city 
in which they live, it is a miracle. 

This winter, as never before, it is the duty of all 
who are well-clad, well-housed, and well-fed to help 
the less fortunate. The fact that you gave last year, 
and the year before, does not lessen your responsi- 
bility. The fact that you cannot afford a large con- 
tribution must rxot deter you. The upturn of busi- 
ness with a gradual improvement of economic con- 
dition^ does not remove the crisis of this moment. 
Emergency appropriations by the federal govern- 
ment amount to $300,000,000, but they meet only 
half the increased national needs for human relief. 

The rest is up to you! 



How will your dollars be used? First of all, they 
will feed the hungry, and relieve the absolute want 
of the unemployed. 

They will be used, also, to take care of the sick 
and aged. They will help to maintain hospitals, 
orphanages and schools. They will make possible 
clinics and visiting nurses. 

The dollars you give are invested in the forces of 
civilization right in your community! 

WELFARE AND RELIEF MOBILIZATION. 1932 

The We/fare and relief Mobilization [or 1932 is a cooperative 
national program to reinforce local fund-raising for human 
welfare and relief needs. No national fund is being raised; 
each community is making provisions for its own people; each 
community will have full control of the money it obtains. 

Give through your established welfare and relief organiza' 
tions, through your community chest, or through your local 
emergency relief committee. 



Newton D. Baker. Chairman, National Citizens' Committee 



This winter, as never before, support your local Community Campaign 



MARCH 
1933 



MHimfidure 

Stanley V. Gibson, Viihlisher 

Laurence Reid, Editor 



C^^h^ 




Katharine 

Hepburn 

—a New Kind 

of Star ! 

Ever since she arrived on the 
movie scene, she has frowned 
on publicity. Not having met 
any actress like this before, 
her studio didn't suspect it 
had a sensation on its hands 
until "A Bill of Divorcement" 
was released — and the public 
went mad about her! 
She looks a bit like Garbo, 
but she is too individual to be 
compared to anyone. Fame 
hasn't made her self-consci- 
ously dignified — it has amused 
her. She talks with interview- 
ers, but keeps them guessing. 
They've started wondering if 
she is hiding some Secret 
Sorrow ! 

But maybe the real secret is 
that here is a girl who's ask- 
ing, "What has pubUcity to 
do with acting abiHty, any- 
way?" It would be just like 
Katharine! 



e^V^ 



Herman Schoppe, Art Director 



Twenty-Second Year 
Volume XLV, No. i 



^'^X^ 



^V^^^ 



Features 

Janet's "Happy Marriage" Ends Dorothy Donnell zy 

Conrad Nagel Tells What's Wrong with the Movies! . . Sonia Lee iS 

This Month It's Connie Bennett — Ask Her a Question 30 

Movie Stars Are Land-Hungry — They're Going 

Back to the Soil! Eric Ergenbright 32. 

I Could Live without Love, Says Sylvia Sidney . . . Faith Service 35 

Seeing "42nd Street" through Hollywood's Eyes . . . Jack Grant 40 

We Nominate for Stardom — Your Future Favorites 4X 

Clothes Gossip from Hollywood Marilyn 44 

Ronald Colman Reveals His Greatest Secret! .... Gladys Hall 49 

Gay, Gifted and Going Places — That's Glenda! . . Terrence Costello 51 

Would You Call the Husbands of Movie Stars — 

"Forgotten Men"? Nancy Pryor 52. 

Where You'll Find the Stars at Play Dorothy Calhoun 54 

"Mama, Where Do Baby Stars Come From?" . . . Dorothy Manners 56 

Bullfighting — It's an Old Spanish Custom, 

but a New Hollywood Cra:e! Fernando Rondon 5S 

Meet the New Alice White! Gladys Hall 60 

The New Buddy Wants a "New Deal" Robert Fender 64 

Departments 

Letters From Our Readers 6 

What The Stars Are Doing Marion Martone 10 

Featured Shorts James Edwin Reid 11 

The Movie Circus Frank Morley iz 

Your Gossip Test Marion Martone 14 

Tip-Offs on the Talkies . J. E. R. 15 

Movie Star Calendar . . , .- Jose Schorr 16 

News and Gossip 36 

The Picture Parade €6 



Cover Design of Katharine Hepburn Painted By Marland Stone 



^^s^^^^ 



Dorothy Donnell Calhoun, Western Editor 



Motion Picture is published monlkly at 330 East 22nd Sireel. Chicago. III. by Motion Picture Publications. Inc. Entered as second class matter August 31. 102S. at the 
Post Ojfjice at Chicago, Illinois, under the Act of March 3, 1S7Q: Printed in C .V. .4. Editorial and Executive (IJJices: Paramount Building. 1301 Broadway, Neio York City, -V. 1'. 
Copyright IC133 by Motion Picture Publications, Inc. .Single copy 13c. Subscriptions for U..S., its possessions, and .Mexico $t .80 a year, Canada $3.30, Foreign Countries 
^3.30. European Agents, Atlas Publishing Company, iS Bride Lane. London, E. C. 4- Stanley V . Gibson, President-Publisher, William S. Pettit, Vice President, Robert E. 

Canfield, Secretary-Treasurer . 




LETTERS 

FROM OUR 

READERS 



Is Zasu Pitts — droll, wan Zasu — reall 
ning to go dramatic? Read the letter 
Zasu, and reconsider! 



V plan 
below 



$20.00 Letter 

Please Don't Go Dramatic, 

Zasu 

HUNTINGDON, TENN.— News 
that Zasu Pitts aspires to become a dra- 
matic actress, coupled with the present 
depression, is almost too much to 
bear. Reports that her former comedy 
ventures have spoiled her chances for a 
"heavy" career have caused her legion 
of admirers to rejoice. We cannot allow 
Zasu to go "Barrymoric." We must 
have someone to cheer us up these 
days. Think of worrying all day about 
losing your present job, then dropping 
into a movie with your last fifty-cent 
piece, and seeing a "soggy" drama that 
adds to your woes. No, Zasu, we won't 
let you get serious; we need someone to 
make us laugh. 

It takes more acting ability and 
knowledge of human nature to keep a 
theatre full of people laughing, than it 
does to throw them gobs of modernized 
"Hamlet." The reason Zasu is not 
starred just shows that the Barnum 
theory applies to movie magnates . . . 
but anyway, Zasu, please don't go 
"heavy." Somebody's got to help us 
forget our worries. Richard Greene. 



.00 Letter 

The Much-Abused Screen 
Collegian 

BLUEFIELD, W. VA.— Being a 
college student, I wish to discuss a side 
of the movies that I have not yet seen 
in the Letter Page; namely, the popular 
version of a college student as por- 
trayed by the large number of college 



pictures recently appearing on 
the screen. 

It is really amusing for a hard- 
working, serious-minded college 
student to go to the mo\ies and 
see himself on the screen in the 
role of a gin-sotted, raccoon-co\- 
ered, football-mad numbskull 
carrying a pennant in one hand 
and a flask in the other while a 
sweet, demure, painted little 
co-ed hangs on either arm and 
yells for dear old Blah-Blah. 

Perhaps it is pathetic, too. 
For e\idently the general public 
draws its censure of college stu- 
dents from the movies. And what pic- 
tures they draw! 

Why do not some of the enterprising 
movie companies produce a picture 
showing college life as it really is and 
give the poor, censured college student 
a break? Do they think there isn't 
enough thrill to a real college scene? 

Anyway, the college students are 
good sports. They enjoy the movies 
and they go full force. They know 
their pictures, too. That's one advan- 
tage of getting an education! 

Clarence Edward Boggs. 



$5.00 Letter 
Nursing Profession 
Congratulates Aline 

PERU, NEB.— Tonight I saw a 
great picture — "Life Begins." 
whole thing was exceptionally 
done, with Aline MacRIahon 
guishing herself. 

I was so well pleased with the 
splendid characterization of the 
nurse, as played by Aline Mac- 
Alahon, that I had to write about 
her. 

The nursing profession has 
long been disgruntled by its 
interpretation on the screen, the 
stage, and in fiction. The nurse 
is either a saint or sinner; either 
a soulless machine, or a chatter- 
ing, stupid busybody. Miss 
MacMahon gives a human, true, 
interpretation of the modern 
1933 nurse. Being a Registered 
Nurse, I ought to know. 

I congratulate her. 

Ruth A hlbero 



The 
well 
distin- 



Write ' Em And Reap A Money Prize 

Each Month MOTION PICTURE gives Twenty, Ten and Five Dollar Prizes 
for the Three Best Letters of the month. Don't overlook the chance of be- 
coming a winner. All you need to do is pick up your pen or go to work on 
your typewriter and tell us and the movie world what's on your mind concern- 
ing the movies and the stars. If any two letters are considered of equal merit, 
the full amount of the prize will go to each writer. Try to keep within 200 
words. No letter will be returned and we reserve the right to publish all or 
any part of a letter submitted. Sign your full name and address. We will 
use initials if requested. Address Letter Page, MOTION PICTURE, 1501 
Broadway, New York City. 



More Praise for "Smilin' 
Through" 

MODESTO, CAL.— From the mo- 
ment the curtain rose on the first scene 
of "Smilin' Through," I knew I was to 
witness something unusual in the line 
of pictures. But little did I realize the 
depth of the story to be unfolded. 

Ves, it is "poignant, inspiring, re- 
freshing" — but that is putting it mildly, 
indeed! I've searched in vain for suit- 
able words with which to describe the 
picture. It would take a more polished 
vocabulary than mine to explain how 
impressed I was. 

Separated, Norma Shearer and Fred- 
ric Alarch are grand! Together — ! My 
poor vocabulary again fails to express 
my enthusiasm. And Leslie Howard — 
I never before realized what a great 
artist he is. (Move over, George Arliss, 
and share your throne with another 
great one.) 

Though I sat through part of the 
picture with "tear-dimmed eyes," (and 
I'm not ashamed of it), I left the theatre 
strangely rested and contented, and 
none the less in a thoughtful mood. 

A bouquet for Sidney Franklin ! Un- 
der his direction Jane Cowl's immortal 
play takes on a power and beauty that 
is destined to make "Smilin' Through" 
one of the few never-to-be-forgotten 
pictures of the screen. 

It gives one something to think about 
— I shall ne\er forget it! 

{Miss) Maxine Kempe. 
{Continued on page 87) 




And let's hope producers read what a regis- 
tered nurse says about Aline MacMahon as 
the nurse in "Life Begins!" 



ANDALLOFTHEMIN 





JANET 
GAYNOR 

as"Margy Frake" 

who falls in love 

with "Pat Gilbert" 

(Lew Ayres). 



LEW 
AYRES 

as "Pat Gilbert," 
reporter, and 
Margy's sweet- 
heart. 



NORMAN 
FOSTER 

'Wayne Frake,' 
sort of Abel, who 
falls for "Emily 
Joyce" (Sally Ei lers). 



FRANK 
CRAVEN 

the storekeeper, 

a dour country 

philosopher. 



• Another sensational screen treat from 
FOX. Phil Stong's best seller, "State Fair" 
' —the novel that millions are talking about 
— with these eight popular screen stars 
in the leading roles, is already being 
hailed as one of the outstanding hits of 





WILL 
ROGERS 

as "Abel Frake" 

father of Margy 

and owner of 

"Blue Boy". 




SALLY 
El LE RS 

OS "Emily Joyce," 

a performer at 

the fair. 




LOUISE 
DRESSER 

as"Melissa Frake' 

mother of Margy 

and Wayne. 




PICTURE 



VICTOR 
J O RY 

Barker for the 
Hoopla Stand at 
the "State Fair." 



1933. Whether you read the book or 
not, here is ONE PICTURE EVERY- 
ONE WILL WANT TO SEE! 



A HENRY KING Production 



News! 



y 



ou 



Said it! 
Found — a Movie 
Couple Married 

-ihirtyYears! 



.'J 



1^ 



I 



4- 



,.^ 



Just grasp the fact if you 
can — a Hollywood couple 
wed thirty years! It's al- 
most an item for Ripley. 
It's certainly a cause for 
celebration. The Ernest 
Torrences celebrated with 
a costume party for their 
friends, the Who's Who of 
Hollywood. Left, you see 
the long-time bride and 
groom in their wedding 
finery, trying to look as 
serious as they were thirty 
years ago. Below, you see 
Ronald Colman, Bessie 
Love and her husband, 
William Hawks, trying to 
look comfortable in good 
old 1902 style 






Grasping Kathryn 
Carver and his iron 
hat, Adolphe Menjou 
is "all sot" for his tin- 
type. Right, Joan Blon- 
dell, as an old time 
"burleycue" queen, is 
on the lookout, no 
doubt, for a "drummer" 



.V3?, 



fTS 



!*^i 



Left, William Pow- 
ell, as a sporty lad, 
kids a poor Flora- 
dora Girl, — Carole 
Lombard; next, 
Mr. and Mrs. Clive 
Brook, as A Lady 
and No Gent. 
Right, Winslow 
Felix finds three's 
a crowd on a settee, 
when Lois Wilson 
and Joan Bennett, 
are all fluffed out 
in 1900 style. Won- 
der who'll next 
have a thirtieth 
anniversary party? 



All pliotos by Wide IVorld 



Featured Shorts 

THE BEST BIG LITTLE PICTURES OF THE MONTH 



By James Edwin Reid 

Tl_|p Dentist ^^ ^°^ '"^^ nonsense and clever pantomime, and don't object to 

a bit of slapstick well done, you'll have a hilarious time when 
you see \V. C. Fields in this Mack Sennett number. I wouldn't be a bit surprised, personalh', 
if the "W. C." in his name stood for "Whatta Clown." For his wrestling bout with a cake of 
ice and his outrageous game of golf are still as funny as they e\'er were in the "Follies." And 
between his absent-mindedness and his pugnacious wisecracks, he makes a screamingly funny 
dentist — with two terrified girls, and a man with a forest of whiskers, as the victims of his 
misdirected genius. (Paramount) 

Passing the buck There's a clever idea behind this musical novelty. 

At some time or other, everyone has wondered 
through what hands his money passed. And this tells a story of the characters who have 
handled a couple of old dollar bills that are about to be destroyed. Since it is a musical picture, 
you have to expect that the bills spend part of their lives among the revues of Broadway and 
Harlem, but they also go abroad on a sailing sloop and e\en turn up at Monte Carlo, in both 
of which settings Alexander Gra> — late of Hollywood, and now of Broadway and radio — de- 
livers some excellent baritone singing. (X'itaphone) 





Tup Rink ^^ ^^® been sixteen years since Charlie Chaplin first cavorted in "The 
Rink," but it's still good for a barrage of laughs — which may or may 
not prove the theory that Chaplin's comedy would appeal to all types in all ages. It's jerky 
and it's slapstick, but it's continuously funny. (Charlie didn't go in for the wistful, semi- 
tragic touch in those days.) First, he is a blundering waiter in a restaurant; then he shifts his 
blundering to a roller-skating rink — where you see him (right) with Edna Purviance. Sound 
effects, newly added, heighten the comic shocks of the slapstick. And several other old Chap- 
lin two-reelers are promised us! (RKO) 




Q^^[^ The Counter ^^'^h the horrors of the recent shopping season still 

fresh in mind, the department store addicts will 
probably hail this musical novelty with cheers and shouts — not to mention huzzas. For the 
idea behind it tickles the fancy. The son of a mercantile magnate, modernizing his father's 
store, puts in a department where husbands may be checked while their wives battle for bar- 
gains. It so happens that the department is in charge of a corps of dazzling chorus girls, who 
put on a revue that has real Broadway rhythm, dash and class. A cheerful little earful — and 
eyeful, featuring Franklyn Pangborn, Sidney Toler and Eleanor Thatcher. (M-G-M) 




Swing high Bearing the same title as the Helen TweK^etrees circus drama of 

a few seasons ago, this latest chapter in the Sport Champion 
series also deals with trapeze artists — and it's a thriller. If you thought Johnny Weissmuller 
did some clever aerial acrobatics in "Tarzan," you should catch a glimpse of the "Flying 
Codonas" — two brothers and \'era Bruce — as they demonstrate why they're the champions of 
the trapeze world. Up near the peak of the Big Top, they spin, they leap, turn somersaults, 
make dangerous catches of each other, all perfectly timed. It may remind you a bit of 
"Variety." See it and hold your breath! (M-G-M) 




The W ONDER city ^^ many times as you have seen New York on the 

screen, you are likely to get a thrill out of this unusual 
scenic — which shows a New York that even New Yorkers know little about. It's the New York 
of the late night hours, when the Great White Way has paled, and the enchantment of night 
bears down on the skyscrapers. Nicholas Cavaliere, who has an eye for beauty, takes his 
camera all around Manhattan Island — showing you the skyline from the harbor, with lights 
dotting the tall buildings, some of the famous streets and bridges, and the riverfront at dawn. 
It puts you in a mood. (Educational) 




'^GLADRAGS To Riches Educatlonars Baby stars— who are real in- 
fants, and no relation to the screen debs 
.who are Wampas Baby Stars — do a "baby burlesque" of movie melodramas about cabaret 
night-life that will probably amuse grown-ups more than youngsters. A beautiful country girl 
(all of two and a half years old) is forced by a cruel fate to sing and dance in a night-club, where 
the proprietor (who must be three or four) is a vil-lun. Their lines, uttered in childish trebles, 
are taken from old sin-and-repent thrillers — and the heroine even sings "Just a Bird in a 
Gilded Cage." (Educational) 



iTHEN Came The Yaw N "^^^ screen constantly drafts the best dramatic 

talent that the stage has to offer, but it seems 
wary of signing up the Broadway comedians for any length of time. Consider Ed Wynn, 
W. C. Fields, George M. Cohan — and Jack Haley. Why is it? That's what you're likely to 
wonder about Haley, for one, after you see him in this short comedy with the punny title. 
He's obviously in the same class with Jack Oakie and Stuart Erwin. Here, troubled by a sleep- 
ing affliction that always overcomes him at the wrong moments, he gets in one scrape after 
another, for a constant stream of laughs. (\'itaphone) 





11 




^he Movie Circus 



WINTER has come to the village, 
with some of that "lous>- weather'* 
that Tallulah was asking for; but the three- 
ring circus, rather than having its spirits 
dampened, seems to be going giddier than 
ever. Perhaps the most important sane 
event of the month was the Academy 
dinner, what with its awards, the Disney 
animated Parade of the Contestants, and 
general sense of giving a pat on the back to 
all those who attempt something besides 
just to make money out of the picture 
business. We hope never to rfiiss another of 
these elegant celebrations. 

THIS year the speeches were short 
and snapijy, a bit too snapp>- in the 
estimation of some radio stations. If they 
cut \ou off in the middle of Freddie March's 
speech, what he said was that he thought it 
a bit ironic that \Vall>- Beer\- and he — both 
recent adopters of children — should be 
picked as gentlemen giving the best per- 
formances of the year. 

HELEN HAYES, in replying to her 
award, admitted as how she hadn't 
been so thrilled since the time her answer 
was "Isn't she red?" — in other words when 
she got her first glimpse of her famous 
"Act of God baby." 

THERE was a well-known director 
down at Caliente who thought he had 
an award coming, too. He lost his false 
teeth under the roulette table, had them 
picked up by a friend and placed on a num- 
ber which promptly came up! But the 
house, like a lot of meanies, refused to pay 
off. 

HIS irritation was little, however, 
compared to that of a writer in one of 
the larger studios when the first draft of 
one of his stories was sent around, by an 
associate producer, to the other writers and 
executives on the lot with this notation: 
" It will be noticed that the story is incom- 
plete and written in a slovenly manner. This 
is because I have been unable to get the 
writer to cooperate with me on the story, 
or to devote his time to writing." 

And was the scribe burned? My, my, my. 
And yes, yes, yes! 



12 



Motion fidure 

presents the greatest 
show on earth — 
the. intimate goings- 
on of the stars at 
work and pi ay 

By 
Frank morley 



That famous sex-appeal expert, Mae West, 
is working under wraps, apparently, in 
"She Done Him Wrong," which she also 
wrote — but she'll find a way to take your 
attention away from the showgirls! 



1EE TRACY also was a bit put out, 
^ the other day during the making of 
"Private Jones." Lee, in a K. P. scene of 
the doughboy drama, was peeling onions 
when his eyes began to water vigorous!}'. 
" Don't cry," the director protested, "you 
aren't that mad about it." 

"How can I help it?" Lee retorted, and 
wouldn't play any more until they had got 
him potatoes to play with. 

BUT perhaps nothing in all Holly- 
wood causes its people more irritation 
than the dialogue in some of the cheap, in- 
dependent productions — which they have 
happened on, drawn by flashing preview 
beacons, in the belief they are to see a first 
showing of one of the regular companies. 
We submit this bit of wordage, recently 
heard in a hurried production of one 
offender, as an example of why a lot of 
pictures never get into theatres. 

"Go to bed," one cliaracter advised 
another, "and ease your conscience." 
The reply was "Naturally." 
And they retired Tony, the horse! 



MENTION of horse sense invariably 
makes one think of Allison .Skip- 
worth, she with the infalliable excuse for 
getting out of anything she doesn't relish. 
This is to answer the request with: "I'm 
sorry, but I'm leaving for New York on 
Monday." 

"It's no fib," she claims. "I don't say 
which Monday, and when I go it will be 
just like that. I'll pack Saturday, rest 
Sundaj' and fly Monday. I hate trains." 

MISS SKIPWORTH'S co-worker on 
the Paramount lot, Mae Uest, has 
solved the studio mystery : i.e., where (lark 
(.able ate his lunch. Finally La West dis- 
covered the\isitingactor — borrowedfor" No 
Man of Her Own" — in the middle of a gang of 
carpenters at the short-order counter. He 
preferred a stool with the boys to a table 
w'ith the other stars, writers and directors. 
That's (iable. 

WE have a mystery, too: why it 
happens that the half-dozen hard- 
looking gu>s making the very tough dere- 
lict rum-runner picture, "Destination Un- 
known," happen to be ex-chorus men? 
We refer to the Messrs. Pat O'Brien, Raliih 
Bellam>', Russell Hopton, Alan Hale, Noel 
Madison and Stanley Fields. 

FOR former gentlemen of the en- 
semble, the\' certainly are a virile-look- 
ing lot. Particularly the last named. Fields. 
Thus it must have been a very, very bad 
lad who had the courage to enter his home 
when the heavy was taking a nap, look upon 
the stubble-bestrewn face upon the pillow, 
then take a watch and ring from the night 
table a few inches from it! 

The topper came, however, when the 
thief was caught and brought to court. 
When Fields appeared to face the defend- 
ant, the Judge looked for a time at the two 
men. Then he asked: "Which one is being 
held for the robbery?" 

THIS business of striking terror to 
the hearts of the public has curious 
angles, if we are to heed Boris "Monster 
Mans" Karloff. "To put it simply," says 
Karloff, "I first scare myself. Otherwise, I 
should not be able to get the feel of the part. 
In a role like that of Dr. Fu Manchu it is 
{Continued on page S5) 



<k\\ 




A MAGIC NAME 



BLAZES ANEW! 



Warner Bros, bring you 
again THE STANWYCK 
THEY TALKED ABOUT in 
"Night Nurse" and "Illicii" 

At last! Her radiant beauty, her 
throbbing ortistrY are given the 
sweep and sway deserved by 
the most entrancing personality 
on the screen. See her now in 
all her seductive glory as a girl 
who asked aU men for love — and 
tricked them when they offered 
it! Is she really wicked — or 
just maddeningly, fatally al- 
luring? Find out in the most 
startling Stanwyck hit in years! 




!> 



anvatio-^ 



Ki^ 







TAnilYCK 



r» 



II 



lADreS TH€Y 
TALK ABOUT 

With Preston S. Foster, Lyle Talbot. Directed by 
Howard Bretherton & William Eeighley. Add it to 
"I Am A Fugitive", "Silver Dollar", "20,000 Years in 
Sing Sing", and others in the amazing hst of hits from 



WARNER BROS 



13 




Your Gossip Test 



By Marion Martone 



1. Can you name the dark-haired 
beauty pictured above, and also 
her companion? 

2. Do you know the film cowboy 
who is retiring from the screen? 

3. What are the names of the 
fifteen Hollywood beauties who 
were picked as 1932 Baby Stars 
by the Wampas? 

4. Can you name the movie star 
who was married at Harrison, 
New York, at 5:00 A.M.? 

5. Do you know the principals in 
a soon-to-be-staged reconciliation ? 

6. What motion picture director 
has placed a huge solitaire on Lila 
Lee's finger? 

7. A movie player and her hus- 
band have jokingly threatened 
to be married in every state in the 
union. Who are thev? 



8. Who is the very popular screen 
star who has separated from her 
husband? 

9. Do you know the two movie 
personalities who, Hollywood sus- 
pects, are secretly married? 

10. What movie actress had to 
leave Holl>^'ood because of the 
expiration of her United States 
passport? 

11. Can you name the Hollywood 
screen star whose fiance hinted 
they will be married during their 
stay in France? 

12. To whom was Barbara Kent 
married during December and 
what are his movie connections? 

13. Against what famous film 
actor did the United States re- 
cently file a tax hen? 



14. With what picture will Bette 
Davis become a motion picture 
star? 

15. Who is the blues singer who 
will shortly be wed to a judge? 

16. The estranged wife of what 
screen actor had him held on 
charges of non-support and later 
was reconciled to him? 

17. Do you know the blonde who 
is constantly seen with the hand- 
some Cary Grant? 

18. Name the noted stage and 
screen star who has just recovered 
from an attack of pneumonia. 

19. Can you give the name of the 
film comedian who was secretly 
wed recently? 

20. Who started annulment pro- 
ceedings three hours after her 
marriage? 

(Answers to these questions on page q6) 



Hollywood Kno^vs The Answers To These Questions — Do You ? 



14 



Xip-Offs On The Talkies 

What They re About — A?id How Good They Are 

By J. E. R. 




Ruth Donnelly and Mary Brian (tem- 
porarily blonde) pick on James Cagney a 
bit in the comedy, "Hard to Handle" 



The Bitter Tea of General Yen — Barbara Stan- 
w>'ck, captured by revolutionaries, attempts some 
missionary work on a romantic Chinese general (Nils 
Asther) in a colorful melodrama that has an un- 
expected ending (Col.). 

Breach of Promise — Mae Clarke sues Chester 
Morris, candidate for Senator, for breach of promise 
— and the developments are both unusual and dra- 
matic, with an ending out of the ordinary (World 
Wide). 

Call Her Savage — Clara Bow, with new poise, new 
figure and new haircut, makes a dramatic comeback 
and proves herself a real actress in a sHght story 
about a fiery half-breed girl in search of romance 
(Fox). 

Central Park — .A. melodramatic night in New York's 
big raidtown pasture, with Joan Blondell and Wallace 
Ford in the center of things. It's doubtful if so much 
could happen in one night, even in Central Park 
(F. N.). 

The Conquerors — An ambitious panorama of 
American life, on the order of "Cimarron," detailing 
the courage of two typical Americans — Richard Dix 
and Ann Harding — in a series of national crises. 
Dramatic and colorful (RKO). 

Cynara — Ronald Colman becomes more emotional 
than he has ever been before, in a tense love story in 
which, tragically, he loves and is loved by two women 
(Kay Francis and Phyllis Barry). A picture that will 
stay with you (U. A.). 

The Death Kiss — An entertainingly novel murder 
mystery, with a movie studio for its setting, the %-ic- 
tim a screen lover, and the amateur detective 
(David Manners) a writer of detective stores. Bela 
Lugosi is also present (World Wide). 

The Devil Is Driving — Now it's the stolen-car 
racket that is put on the movie spot, with Edmund 
Lowe and Wynne Gibson wisecracking and battling 
their way to a decision over the racketeers. Good 
light melodrama (Par.). 

Fast Life — An uproarious satire of all the boat- 
racing thrillers ever made, which hasn't a serious 
moment and spoofs some good old hokum. William 
Haines takes a new lease on popularity (M-G-M). 

Flesh — Wallace Beery turns in a powerful perform- 
ance in a Jannings-like role, playing an honest, but 
bewildered wrestler who makes the tragic error of 
belieWng that he has found love (M-G-M). 

The Half-Naked Truth — When is Lee Tracy going 
to relax the pace he's setting? Here he makes another 
role as real as life, and far more amusing — playing a 
ballyhoo artist who takes a carnival dancer (Lupe 
Velez) and puts Broadway at her shapely feet (RKO). 

Hard to Handle — .And James Cagney, who is 
Tracy's only competitor, also leads a harassed and 
amusing life as a press-agent who knows all the 
tricks of the trade. Fast-moving, like all Cagney 
pictures (W. B.). 

He Learned about Women — Good, clean fun, in 
which Stuart Erwin, as a millionaire bookworm, 
hires Alison Skipworth and Susan Fleming to teach 
him the ways of the world. Marie Dressier had 
better watch out for Alison Skipworth (Par.). 

Hypnotized — Moran and Mack, the Two Charcoal 
Crows, return to the screen in a Mack Sennett 
comedy about hypnotism that starts slowly, but 
warms up for a hilarious finish. Ernest Torrence, as 
the hypnotist, steals the picture (World Wide). 



I Am a Fugitive from a Chain Gang — One of those 
few pictures you will never forget. -A powerful 
indictment of "'man's inhumanity to man," with 
Paul Muni reaching great heights as a man whose 
life is wrecked by a prison sentence (W. B.). 

If I Had a Million — .\ diverting picture, playing 
around with the idea of what an assorted collection 
of people would do if an eccentric millionaire sud- 
denly gave them each a million. You'll enjoy the 
George Raft and Charles Laughton incidents, 
particularly (Par.). 

Kameradschaft ("Comradeship") — A powerful 
German picture with English subtitles — about a 
disaster in a French mine near the German border, 
and the rescue efforts by the formerly hostile Ger- 
mans. The suspense is terrific, the photography 
spectacular (.Ass. Cinemas). 

The Kid from Spain — Eddie Cantor goes irrepres- 
sibly insane in a musical comedy about bullfighting 
that ought to make even your -Aunt Hattie laugh — 
through her blushes. And you should see the Goldwyn 
Girls! (U. A.). 

King Kong — This one will turn your spine into an 
icicle. A giant ape of prehistoric proportions gets 
loose in New York, kidnaps Fay Wray. and carries 
her to the peak of a skyscraper. The pursuit packs a 
real thrill (RKO). 

Ladies They Talk About — They are women con- 
victs, as portrayed by Barbara Stanwyck, who goes 
blonde and defies the world to break her spirit. 
Good acting in a good melodrama (W. B.). 

Laughter in Hell — Jim Tully's version of chain- 
gang life has some forceful moments, but goes 
sentimental. Pat O'Brien and Tom Brown are the 
chief victims of society (Univ.). 

Lawyer Man — As an East Side lawyer who helps the 
downtrodden and takes up sharp practices in self- 
defense, W'illiam Powell turns in a colorful character 
study, with Joan Blondell his amusing secretary 
(F. N.). 

Man Against Woman — Something new in detective 
stories — being a ghmpse of the life of a private 
detective (Jack Holt), whose job is to shadow in- 
discreet women. .An interesting yarn (Col.). 

Manhattan Tower — A tangle of melodramatic life 
in a skyscraper, and a faint echo of "Skyscraper 
Souls," featuring Irene Rich, Mary Brian, James 
Hall and Hale Hamilton (Remington). 

The Mask of Fu Manchu — Boris Karloff, as a 
sinister Oriental, who dreams of the yellow race's 
conquering the world, tries some diabolical tortures 
on a group of whites. Grade A horror melodrama 
(M-G-M). 

The Match King — Based on the life of a late finan- 
cier, this lays bare the cruel cleverness of a bluffer 
who talks in millions and hoodwinks whole nations. 
.Another smooth portrayal by Warren William, aided 
by Lili Damita (F. N.). 

Me and My Gal — .An amusing little comedy melo- 
drama about gangsters, an Irish cop (Spencer Tracy) 
and a wisecracking waitress (Joan Bennett). Joan, 
in a new type of role, is a big surprise (Fox). 

Men of America — Bill Boyd and Chic Sale do what 
the rest of us may have to do some da> — take the 
law into their own hands when racketeers go a bit 
too far. Melodrama with a capital "M" and a healthy 
dash of humor (RKO). 

Nagana — In her second American picture, Tala 
Birell is an adventuress in equatorial Africa, with 
sleeping sickness and Meh-yn Douglas to conquer. 
Better-than-average tropical drama (Univ.). 





The Warden (Arthur Byron) parts Bette 
Davis and convict Spencer Tracy in 
"Tw^enty Thousand Years in Sing Sing" 



Barbara Stanwyck, a prisoner of Nils 
Asther in "The Bitter Tea of General 
Yen," trusts him — but not Walter Connolly 



No More Orchids — Carole Lombard is a rich girl 
who wants to marry a poor boy (Lyle Talbot), not a 
prince (Jameson Thomas) — and her difficulties are 
more amusing than you might suspect (Col.). 

Officer 13 — .A motorcycle cop (Monte Blue) believes 
his buddy was murdered, not killed accidentally, and 
sets out to prove it. .An action drama that will have 
the youngsters on the edges of their seats (.Allied). 

Penguin Pool Murder — Murder mystery in an 
aquarium, solved by eccentric Edna May Oliver and 
hard-boiled James Gleason. Their comedy makes it 
the season's lightest mystery "meller" (RKO). 

The Racing Strain — The only notable thing about 
this typical auto-racing yarn is the fact that young 
and still immature Wallace Reid, Jr., who looks like 
his late and popular Dad, makes his movie bow as 
the hero (Irving). 

Rockabye — Constance Bennett struggles nobly %vith 
a sad and sentimental story of an actress who wants 
and adopts a child, then is involved in a scandal, and 
fights against having her life wrecked. -A woman's 
picture (RKO). 

Secrets of the French Police — .A beautiful flower 
girl (Gwili .Andre) disappears, and the French police, 
headed by Frank Morgan, solve her disappearance 
in a detective thriller that is not only suspenseful, 
but unusual (RKO). 

The Sign of the Cross — Cecil De Mille's spectacu- 
lar version of the downfall of paganism under Nero 
and the rise of Christianity — with the spectacle less 
impressive than the acting of Charles Laughton, 
Claudette Colbert, Fredric March and EUssa Landi 
(Par.). 

Silver Dollar — Edward G. Robinson's best picture 
— a vivid and colorful drama of the rise and fall of a 
silver pioneer. He has able assistance from .Aline 
MacMahon and Bebe Daniels (F. N.). 

The Son-Daughter — Helen Hayes suffers some 
tragic e.xperiences as a Chinatown girl auctioned off 
to the highest bidder — though in love with Ramon 
Novarro. It lacks reality, but Helen's acting may 
give your emotions a wrench just the same (M-G-M). 

Trailing the Killer — The best dog picture of the 
talkies — with an amazing wolf-dog tracking down the 
panther-murderer of a rancher's sheep. You won't 
forget the fight between the two, or the dog's battle 
with a big snake (World Wide). 

Twenty Thousand Years in Sing Sing — .After 
learning all about the horrors of prison life, nov/ yo'.i 
learn something about the square deal that Sing 
Sing prisoners get — and sometimes abuse. Memor- 
able drama, with Spencer Tracy in a memorable 
performance as a convict (F. N.). 

Under-Cover Man — .A fast-moving, well-knit melo- 
drama about a gangster (George Raft) who is on the 
side of the police, chiefly because of his girl-friend, 
Nancy Carroll (Par.). 

Uptown New York — There are some good situa- 
tions and some good comedy in this \'ina Delmar 
story, revolving around Jack Oakie as a brightly 
ambitious lad who is dumb when it comes to love 
(World Wide). 

You Said a Mouthful — Joe E. Brown gets in some 
comical difficulties as a water-shy lad who is mistaken 
for a champion swimmer. Go prepared to become 
hysterical. Joe also has an amusing new pal — Farina 
of "Our Gang" fame (F. N.). 



15 



Movie Star Calendar 

Dating Them Up Through Past Events 

March, 1933 



By JOSE SCHORR 



SUN. 



MON. 



TUES. 



WED. 



THURS. 



FRI. 



SAT. 




Dorothy 
Mackaill 
born March 4 




Conrad Na- 

gel's birthday 

is March 16 



Joan Craw- 

ford born 

March 23 



12 3 4 



C. J. Brabin 
kisses Theda 
Bar A when she 
returns from 
Europe but de- 
nies betroth- 
al. (1921) 



RiiDY Vai.lee 
writes: "BimoY 
Rogers does 
more in one 
embrace than 
I do in 20 
broadcasts." 
(1930) 



Tom Mix is 

unhappy in his 
new house. He 
sHps on the 
poHshed floors. 
(1927) 



Little BoBBE 
Arnst brings 

J . ^ E I S S - 
MULLEH to his 

knees at the 
in less 
three 
(1931) 



altar 

than 

weeks. 



Cy Bartlett 
takes Alice 
White home 
to meet his 
Mama and 
Papa. (1930) 



Virginia 
V A L L I and 
Charles Far- 
REL write from 
their honey- 
moon: "Glad 
you're not 
here." (1931) 



7 



Bill Powell 

spends hours 
with C o IS - 

STANCE Cl'M- 

MiNGs. Have 
he and Carole 
Lombard had 

words? (1931) 



Dixie Lee 
and B I N G 
Crosby 

who've been 
pouting, make 
up and decide 
to live happilv 
again. (1931)" 



.T I M M Y" DUR- 
ANTE turns his 
wife over to 
Philadelphia 
Jack OBkien 
to knock 15 
pounds out of 
her. (1930) 



10 11 I 



Lowell Sher- 
M A !v writes: 
"Occupation: 

— Actor — '?" 
on his marriage 
license to in- 
d u 1 g e his 
criti<'S. (1930) 



John Barrv- 
M o R E pays 
$800 damages 
for hitting a 
barber who in- 
s i s t e d on 
shampooing 
him. (1913) 



12 13 14 15 16 17 



Al Jolson 

gives race 
track credit 
for restoring 
his health. 
Says a horse 
that wins is a 
tonic. (1926) 



Oklahoma is 
jealous of Cal- 
ifornia. Legis- 
lature is asked 
to call Will 
Rogers home. 
(1927) 



C O N S T A N C E 
T a L M A D G E 

carries a flask 
of milk to 
clubs. She 
doesn't even 
trust their 
milk! (1929) 



Eddie Can- 
tor pays in- 
come tax on 
S5,000 he re- 
ceived for tell- 
ing people 
he likes ciga- 
rettes. (1930) 



LiLi Damita 
turns Sidney 
A . Smith 

down in Hono- 
lulu as she did 
in HoUvwood. 
(1932) " 



''If a man 
doesn't c'are 
for me, I don't 
cry,'' says 
LuPE Velez. 
"There's plen- 
ty of fish in the 
pond." (1929) 




Girl sues Paul 
L 11 K A s for 

$100,000 for 
not divorcing 
his wife and 
marrving her. 
(1929) 



19 20 21 22 23 24 



George Raft 
and Jimmy 
Dunn are 

dancing with 
female cus- 
tomers in 
lOc-a-dance 
hall. (1923) 



Corporal Bus- 
ter K EATON is 

seasick on the 
high seas com- 
ing home from 
the wars. 
(1919) 



Charlie 
Chaplin 
chooses LiTA 
Grey for his 
leading lady. 
He thinks 
she's a lovely 
girl. (1924) 



26 27 



Douglas 
Fairbanks 

shoots a leop- 
ard in India. 
Wires Mrs. 
Fairbanks not 
to buy a new 
coat. (1931) 



Gloria Swan- 
son and the 
Marquis al- 
most make 
up as Connie 
Bennett falls 
for Joel Mc- 
Crea. (1931) 




Joan Craw- 
F o R D and 
Doug Jr. say 
they'll marry 
in October. 
But they'll 
marry in June. 
(1929) 



Mary' Pick- 
ford weeps in 
Toronto as she 
sees the home 
that she was 
born in. (1924) 



Jimmy Walk- 
er, convales- 
cing, disobej'S 
doctor. He 
stays up till 12 
with Jean 
Harlow, 
(1931) 



Ann Harding 
divorces 
Harry Ban- 
nister b e - 
cause marriage 
interferes with 
his career. 
(1932) 



K A T H R Y N 

Carver and 

A D o L P H E 

Menjou sail 
for Paris with 
Mama Carver 
to be wed. 
(1928) 



John Konesics 

of Budapest 
calls self 

B A N K Y so 

people will 
believe he is 
Vilma's fath- 
er. (1927) • 



29 30 31 



Joan B bn- 

NETT says she 
makes ex-hus- 
band pay for 
their child's 
support on 
principle. 
(1930) 




Bebe Daniels 
says: "Jack 
(Dempsey) is 

a nice boy, but 
what do I 
want with a 
husband'?'' 
(1922) 




Edmund 

Lowe born 

March 2 



16 



V 




yl/ma J.6id^e —yi/ew ^rlaia//icey 

The moment you try Listerine Tooth Paste you will wonder 
why you ever put up with costly and less efficient denti- 
frices. From the moment you begin using it, you will note 
an improvement in the looks of your teeth; a new clean- 
liness, and new lustre and brilliance. It is a tribute to this 
paste that more than three million women now use it in 
preference to former favorites costing more. Won't you try 
a tube? Lambert Pharmacal Co., St. Louis, Mo. 

LlfV'EKIWE 

TOOTH l>/%§Tt 



Things you can buy 
with tliat ^3 you save 

Cold cream, face powder, handbag, um- 
brella, hose, hat, gloves, underwear, kimono, 
pyjamas, negligee, a good book, handker- 
chiefs, sweater, jewelry, knickers, bathrobe, 
swimming suit, moccasins, slippers, shoes, 
traveling bag, brief case, desk set, fountain 
pen, a Kodak, camera filnns, napkins, towels, 
tablecloth, bedspread, sheets, couch cover, 
iron, toaster, tennis balls, tennis net, tennis 
racket, golf balls, a golf club. 



17 





icaycr, . . cm Tjke 




tnese creams nave guardea my skin constantly since 
1 was a sir! ^a-z^ S^^z^l^Z/u/ Mrs. Mc Cormick 



was a girj 



sa^ud. o€^:m^c 



In 1929 



jl/ /■.-(. McCnrmick. irns Mi-is 
Joan Tyndale Sicrens of Eng- 
land, which accounts for fur 
delicate English heanty. "Years ago 
I started to use Pond's," she says. 

HEALS CHAPPING. Pond's Vaiiisliing Cream 
is famous for its healing and soothing quaHties. 
To prevent your skin from drying and crack- 
ing smootli on Vanishing Cream before going 
out. It keeps yourskinbeautifullysof land white. 

CLEANSES— PREVENTS LINES. Use Pond's 
Cold Cream for thorough daily cleansing. It 
floats out every speck of grime without clog- 
ging the pores or drying the skin ! A bit left on 
overnight after cleansing will keep away age- 
telling lines! 





I SPENT my girlhood on tlie Con- 
tinent ... In Chicago I learned 
about extremes of climate . . . And 
here in Santa Barbara I am out 
in the open most of the time. 

"Isn't that a test of one's beauty 
methods.''" 

INIrs. IMcCorniick has the most 
heavenly skin you ever saw — slie 
is a typical British blonde. 

"Even on the other side, when I 
was a girl," she says, "I always 
used Pond's. I was so absolutely 
sure of their purity." 

Skin Soft in Harshest Weather 

"But it was in Chicago, where the 
winters are stinging and the sum- 
mers burning, tliat I realized how 
ahsoluiely necessary Pond's Two 
Creams are if one's skin is to keep 
its young-girl freshness. 

"The Cold Cream is indisi)ensa- 
ble for cleansing, and I use the 
Vanishing Cream constantly for 
I'rotection. It heals chapjiing and 
it is the most effective powder ba,se. 

"Here in California I spend most 
of my time in my garden. Again, 
Pond's Two Creams have proved 
themselves invaluable." 

See Your Own Skin Improve 

Try these Creams on your own skin, 
and see what wonders they accom- 
plish foryou. Pond's Creams bring 
back the suppleness of young skin. 



WHITENS ROUGH RED HANDS. Ponds Van- 
ishing Cream quickly smooths roughened skin 
and relieves irritation. Watch it whiten and 
soften reddened hands. 

Thousands of women use and praise 
Pond's Two Creams. Among them: 

Lady Louis MountbatLen 
Mrs. E. Wreiui duPont Lady Violet Astor 

Mrs. Reginald Vanderbilt 
Miss Anne Morgan Mrs. Morgan Belmont 




Today 



Mrs. Alisler MrCnrinick's fresh beauty is 
ei'en more apparent. She spends most of her 
day working among rare tropical plants which 
she has collected. "I rely entirely on Pond's 
Two Creams to keep my skin nice," she says. 



Send 10^ (to cover co8t of postage 
and pucking) for choice of free sampleB 

Pond's Extract Company, Dept. C Nsi^^^ils 

113 Huilson Street New York City 

Please send me (check choice): Pandas New Face Powder 
in attractive glass jar. Light Cream □, Rose Cream □, 
Brunette Q, Naturelle Q- 
OR Pond's Two Creams. Tissues and Fresfiener □• 



Name_ 



City_ 



Leo Reisman on Pond's, Fridays, 9:30 P.M., E. S. T. , 



Coi^yrii^nl, iyjj. Pond' s Jixtract Company 
Mrs. Franklin D. Roosevelt, wife of tlie President-Elect, Speaker . . . WEAF and ISBC I\elwork 



18 



/^ 



v 



NANCY CARROLL 

What's Nancy trying to do to 
us — give us Spring fever about 
two nnonths ahead of tinne? Or 
is she just telling us how it feels 
to be back on the movie scene 
again and getting the old "on- 
to-stardom" urge once more? 
For the camera isn't telling a 
fib — the recently returned red- 
head is happy all the way 
through. One of the main rea- 
sons is the title role of "Child 
of Manhattan" — a role just her 
measure! And another is her 
next — "A Passage to Paradise" 

Don English 




'V 



■*1n 



•% 



*# 



IP 






§ 



^ 



*» 







Hal Phyfe 



She wisecracked, she wiggled, and she won a new place In the 
hearts of connedy-lovers In "Me and My Gal." But now that she 
has proved she could do it, Joan is putting on her best dignity 
(not to nnention her best feather boo) — just to hint she is in the 
mood for serious drama now. Wonder why they don't plead with 
her writer-hubby, Gene Markey, to pen his Idea of a story for her? 



JOAN BENNETT 



20 




Russell Ball 



ANITA PAGE 



For a girl who takes one of the best photographs at M-G-M, it is 
positively amazing how few pictures Anita mokes. And yet she 
gets a staggering amount of moil. So WhIY don't we see her 
more often? Wonder if looking over the wrong shoulder could 
have jinxed her? But her luck's changing now. For she's bound for 
Moiiogram, on loan, to play the title role of "Jungle Bride"! 



25 




Ernest A. Bachrach 



Like a light in a dark room — fhat's the way that Irene attracts the 
eye. More than that, she attracts the intelligence. "S. A.," to Irene, 
nneans "Sensitive Always." And being idealistic about her roles 
seems to pay. Hasn't she played two of the nnost memorable hero- 
ines of the talkies in "Cimarron" and "Back Street"? And now, once 
again, she is a lovely heroine who ages — in "The Lady Deceived" 



IRENE DUNNE 



26 





Janets ''Happy 
Marriage' Ends 

After three and a half years, Janet Gaynor gives up trying to play the role of a " happy " 
bride and parts from Lydell Peck. And from a couple of things she said to an old 
friend recently, it appears she had long debated taking the step. The parting fol- 
lows closely on the heels of her separation on the screen from Charles Farrell 



By DOROTHY DONNELL 



IT was not news to Hollywood that Janet Gajrnor and her 
husband of three and a half years, Lydell Peck, had 
separated. The movie colony has watched with skepti- 
cal eyes the more-than-usually-troubled course of this 
Hollywood marriage ever since its startled reception of the 
news of Janet's elopement, and has heard with poUtely cyni- 
cal ears her often-repeated protestations of happiness. 

In announcing the separation, Janet's lawyer said that it 
had been caused "entirely because of clashes of temperament 
and the requirements of their profession upon their time and 
abilities." He explained, "It is simply a case in which a hus- 
band and wife have looked at a situation frankly and hon- 
estly, and have determined for themselves that if the\' cannot 
live happily together they should be separated." 

Five times at least, according to Hollywood's reckoning, 
the young Pecks have separated. Janet has fled to Palm 
Springs, to her mother's apartment — once even to Honolulu 
on a forlorn solitary honeymoon, soon after their runaway 
marriage. On other occasions Hollywood has actually 
watched their domestic difficulties, as at the time of a pre- 
miere last year when Janet and Lydell, oblivious to curious 



ej'es, engaged in a solio voce argument, while the tears ran 
down her face and dripped onto her beautiful evening gown. 

So pressing did the headline-hunters become on the scent 
of divorce that Janet has recently refused interviews unless 
the reporters agreed not to mention her marriage, or her early 
romance with Charles Farrell. It has been known to only a 
few that she has been trying to find the happiness lacking in 
her own life in a study of religions and philosophies. 

No, Hollywood is never surprised by a divorce — and never 
has been, except in the single case of Ann Harding and Harr_v 
Bannister. Btit it lias been surprised that the Gayiior-Fcck 
parting u\is so long delayed. Now, apparently, we can give 
the reason for this delay. 

The Question in Her Mind 

A FEW weeks ago, a writer went to see Janet about a 
story. He had known her since her days of "extra " work 
at Universal City, but even long acquaintance had not pre- 
pared him for her first breathless words. 

"Tell me something. / want to ask you a question or two. 
{Continued on page 76) 

27 



Conrad NagelTcHs 




with the Movies 

Conrad is President of the Academy of Motion Picture Arts and Sciences 
— a ''spokesman" for the movies. And a frank one. The depression isn't 
the only thing that has emptied the theatres, he says; Hollywood and the 
theatre-owners aren't satisfying the customers. And Conrad speaks out 

and tells some of the reasons why! 



By Sonia Lee 



EVEN confirmed optimists admit that there is some- 
thing vitally wrong with the movies. Studio deficits 
mount, and theatres are only half-filled. Remedies 
such as all-star casts, pretentious productions, novel 
story ideas and brilliant publicity campaigns have momenta- 
rily helped, but they have by no means cured the anemic 
condition of the industry. The movies have not even diag- 
nosed their ailments yet, says Conrad Nagel. 

Certainly, there is no lack of talent in Hollywood. This 
small town undoubtedly possesses a greater percentage of 
brains than has ever been collected in a similar area. Execu- 
tive ability; technical ability; dramatic ability; literary ability 
— they are all gathered in Hollywood in amazing abundance. 
And yet, red ink. is sprayed all over the financial books of the 
studios, and the globular sums that represented huge profits 
a few years ago are not even a pleasant memory. It isn't a 
situation in which just one major studio finds itself to-day. 
It has spread-eagled to the most powerful and the most 
astute. 

Conrad Nagel, President of the .\cademy of Motion Picture 
Arts and Sciences — a man who has represented the industry 
with honor and zeal, a man keen-minded, analytical, steady- 
eyed — declares that public indifference will cease only when 
carefully made pictures are presented in theatres built espe- 
cially for the talking screen. He recommends si.x remedies: 

What the Movies Need 

THE scrapping or remodeling of the present-day theatres. 
The scrapping of the release-date system, which now 
causes the studios to sacrifice merit to a time-clock and a 
calendar. 

Careful preparation of script and a rehearsal period before 
any picture is begun. 

A new loyalty between the various branches of the studio. 

A show-must-go-on spirit among the actors, which char- 
acterizes stage thespians, but is lacking in Hollywood. 

The realization that picture-making is primarily an art and 
not a business. 

Virtually, his recommendations involve not only practical 
changes, but spiritual, if the motion picture industry is to 

28 



recover from the doldrums it is in now. 

"The motion picture executives alone, 
among the industrial giants in other fields," 
declares Conrad Xagel, "refuse to recog- 
nize the fact that you can't manufacture 
a new model with old machinery. Other 
industries ruthlessly scrap outmoded tools. 
We haven't. 

"In eft'ect, theatres built for silents are 
the outworn tools of the talking picture. 
We should either tear 
them down complete- 
ly, or remodel them 
for the talkies. But 
instead of doing that, 
we are resorting to 
half-measures and 
compromises in a des- 
perate eft'ort to save 
those huge, two-and- 
three-thousand-seat ; 

temples of the cinema, ,: 

erected for the presen- -|- 

tation of a different, ' 

and now obsolete phase 
of film-making. 

"As they stand now, 
loudspeakers have 
been installed to carry 
sound throughout, and . > 

it results in extraordi- ii- 

narih' weird and bad 
synchronization. It 
gives the onlooker the 
eerie eft'ect of seeing an 
actor on the screen 
and hearing him speak 
somewhere in the back ' 

of the house. It doesn't 
make for realism. 





Why the Balconies 
Are Empty 

"TT is this imperfect presenta- 
JL tion that has emptied the- 
atre balconies. The corollary to 
that is an ever-increasing weekly 
loss, for the balcony represents 
the profit. If audiences refuse to 
sit there, a theatre is all through. 
Wouldn't it be better to make a 
clean sweep of the theatres that 
the public won't patronize, rath- 
er than to continue on an un- 
profitable basis indefinitely? We 
might as well adjust ourselves 
to the new order of things. It 
will be cheaper in the long run. 
"We seek palliatives for the 
ills of our industry, rather than 
take the courageous cure. In- 
stead of resorting to elaborate 
stage shows, we ought to present 
motion pictures perfectly — for 
pictures, after all, are what peo- 
ple pay to see. 



Below, ac- 
tor, director 
and techni- 
cian argue 
ho\v a scene 
ought to be 
done. Why? 
asks Conrad 





Conrad Nagel tells producers, "There is no group of people 
in the world so keen as movie audiences. They do honor 
to the artistry of a George Arliss. They resent and dislike 
the imperfect, the slipshod, or the almost-just-as-good . . . 
even if they can't give names to them" 



Illustration by Everett Shinn 



"Two-thousand-dollar-a-week headliners will never pave 
the way toward profit on the account books. Neither will 
vaudeville acts that are only good enough to open and close 
an Orpheum bill. The public doesn't want three-and-a-half 
hour shows, of which the picture is the smallest unit. They 
come to see a screen star, a special feature — they want an 
hour and a half of entertainment. Give it to them. And in 
doing so, theatres will refill more often, and profit accordingly. 

"Under the present-day scheme of theatre ownership, 
studios must keep them open as a defensive measure, in order 
that they will have outlets for their product. It immediately 
begins the vicious circle of so many theatres — so many pic- 
tures to produce. A Frankenstein is created, which may 
threaten to destroy its creators. 

"This need for a supply of pictures to keep theatres busy 
means driving, brutal haste in turning them out. When an 
actor starts a picture, he kisses his wife and child goodb\e and 
forgets that he has any friends for the duration of the shooting 
schedule. He reports for duty before eight o'clock in the morn- 
{Continued on page 88) 

29 



m 



This Month It's' 




30 




Connie Bennett 

. . . Ask Her a Question 



SUPPOSE you were intro- 
duced to Constance Ben- 
nett through a mutual friend, 
and had an opportunity to ask 
her a question — what one question 
would you ask her? 

The whole world is Bennett-con- 
scious and Bennett-curious. Her pic- 
tures are sell-outs. Her name in headlines 



Last month, MOTION PICTURE invited you 
to "ask Gable a question" — and the 
whole world took us up! Now, we're 
giving you that rare, rare chance 
to get in touch with Constance 
Bennett — -who seldom an- 
swers questions, but has 
answer 
Read 



YOURS. 



r u s 



will sell any newspaper. On the screen . 

or off, she arouses discussion. Her married promisecl tO 

life, her feuds with the Press, her plans to 

adopt a baby, her enormous salar>% her clothes, 

her health — all these, and more, are matters of o K r» 1 1 f 

vital interest to millions. And now, Motion 

Picture Mag.\zixe, which has told you a great 

deal about Constance Bennett in the last three years, 

is happy to play "mutual friend" and give you a 

chance, personally, to ask a question that Connie, 

personally, will answer! 

In spite of all that you have read about her, perhaps there 
is still something else that you would Hke to know. ]\Iaybe 
you have wondered, for example, what advice she would give 
to girls with ambitions to be actresses, or what her favorite 
screen role has been, or what sports, if anj', she plaj's, or what 
her favorite color in clothes is, or whether her little foster-son, 
Peter, calls her "Mama" or "Connie." Or other little, "human 
interest" things that inter\aewers may have forgotten to ask 
about. 

Of course, Constance Bennett is much too bus}' even to 
attempt to answer, personally, the huge volume of mail she 
receives. But she has graciously promised that she will take time 



it and 



your 
que- 
ry! 



to answer the questions j^ou 
may ask her this month 
through Motion Picture's 
Inquiring Reporter. Naturally, 
these questions must be within 
the bounds of good taste — ques- 
tions that you would not hesitate to 
ask her if you should ever actually 
meet her. 

Simply -airite your question on the cou- 
pon across the bottom of this page and jnail 
it to the Inquiring Reporter before February 
tenth. You will find Connie's answer to your 
question in the May Motion Picture. 
Last month, we invited you to "ask Clark 
Gable a question." And how you did respond! V\t 
had originally intended to publish Clark's answers 
this month, but the flood of mail made this impossible. 
We didn't anticipate being busy, for days, just opening 
envelopes and listing all the questions that America 
wanted to ask ]\Ir. Gable. Fortunately, a great man}- of 
you asked the same questions — so you will all be answered 
in the April number of Motion Picture. We are sorry to 
keep }ou waiting. Blame the delay on the popular appeal of this 
opportunit}' of each moviegoer to ask a favorite screen star a 
question, personally. An opportunity, by the way, that costs 
nothing except the stamp with which your question is mailed. It 
is just another original service of Motion Picture to its readers. 
Remember, you will read the answers to the Clark Gable ques- 
tions in the April issue, out February 28th and the Constance 
Bennett answers in the May issue, out March 28th. And in 
both you will have opportunities to question still other stars! 



1 n 



inquiring reporter, 

% Motion Picture Magazine, 

1509 North Vine Street, Hollywood, CaUfornia 

T)ear Sir: 

THE QUESTION 1 SHOULD LIKE TO ASK CONSTANCE BENNETT PERSONALLY 

IS THIS : 



This question is sent in by: 



Name. 
Streets 



City and State . 



31 



Movie Stars Are 

Land -Hungry 



They re Going Back to the Soil: 

When their days on the screen are over, where will the present stars be going? Back to the 
"good earth" — to live on farms or ranches they have bought! Douglas Fairbanks and 
Mary Pickford have invested a million dollars in their future home — and right on down the 
line, all the stars are buying up land. Moreover, many of them are calling it "home" 
already, like Clara Bow and Richard Dix and Elissa Land! and Robert Montgomery! 



/ 



STUDENTS 
of the times 
contend 
that people 
are in rebel- 
lion against the ar- 
tificiality of modem 
life — that they are 
striving to return to 
the elementals, to 



most of the stars who were "in the money" 
talked longingly of retiring to the Lido, to the 
Riviera, to a Paris apartment — anywhere but 
to a farm — when their picture careers were 
ended. In those days most of our leading lumi- 
naries lived in apartment hotels or in rented 
houses. They sang the praises of the traffic 
jams at Forty-second and Broadway, New 
"Yahk," and spent their time between pictures 
in a giddy social whirl that frayed their nerves 




go back to the "good earth." And, as far as Hollywood is 
concerned, the contention is certainly true. 

High in the mountains, down by the seashore, out in the 
lonely desert, the stars are building homes. They are land- 
hungry, seemingly starved for first-hand contact with nature. 
Some are buying farms and ranches, actually trying to aug- 
ment their screen incomes from the produce of their land. 
Others are content with secluded, roomy estates in the rolling 
hills that lie between Holhwood and Santa Monica Bay. 
They seem obsessed by two desires: first, to escape the nerve- 
racking clamor of the crowded districts; second, to "grow 
something." Land-hunger has assumed such epidemic pro- 
portions in Hollywood that the average screen celebrity now 
talks as learnedly about the problems of gardening as he does 
about the technique of acting. 

Some twelve years ago, when I first knew the studio folk, 

32 



Top, Victor 
McLaglen, who 
raises pheas- 
ants, among 
other things, on 
his La Canada 
ranch. Across 
the two pages, a 
part of the vast 
ranch of Doug- 
las Fairbanks 
and Mary Pick- 
ford near Ran- 
ch© Santa Fe. 
Right, Irving 
Pichel and his 
La Canada 
ranch house, 
built by himself 




By ERIC 



E N B R I 



and fattened the purses of all 
the resort owners from San 
Francisco to Tia Juana. In 
that tempestuous era, no one 
ever asked, "Are you going 
out tonight?" The demand 
was: "Where are you step- 
ping tonight?" 

Xow, almost every plaj'er 
of importance owns at least 
one piece of property. Holly- 
wood's stars have acquired 
"pride of possession" — and 





Above, a view of Noah Beery's 
Paradise Trout Club, a ranch 
stocked with unusual live- 
stock — namely, fish — for the 
pleasure of California sports- 
men. Left, Clark Gable at 
home, where he is a horti- 
culturist 



Above, 
Jean Her- 
sholt grows 
the rare 
cherimoy- 
er fruit on 
his Beverly 
Hills es- 
tate. Left, 
Gloria Stu- 
a r t and 
Gordon 
Newell 
swimming 
in the Big 
Sur River, 
near their 
land 




have centered that 
pride in the earth. 
When they talk of 
retiring, they linger 
caressingly over the 
word, ''farm.'' 
Paris? The Riviera? 
Oh, those places are 
all right for an occa- 
sional pla^-da}-, 
they tell you — but 
just think of the 
quiet happiness to 
be found on a farm! 
Of aU HoPvwood's 




John Miljan, like Richard Dix and Fred Kohler, 

ovirns a ranch in the San Fernando Valley, where 

he not only lives, but cultivates unusual plants 



landowners, Douglas Fairbanks and jNIary 
Pickford are probably the most ambitious. 
A few years ago they purchased a vast track 
of land — three thousand acres in all — near 
Rancho Santa Fe, about ninety miles from 
Los Angeles. Doug, the dreamer and enthu- 
siast, plans to create there a cross-section of 
the colorful past — a hacienda like those that 
flourished in California in the pre-Gringo 
days. All of the buildings are to be colonial 
Spanish in design. There will be fiestas, 
clicking castanets, the gay beat of the fan- 
dango and the appetizing odor of barbecued 
beeves. No guest shall ever be turned away 
hungry, for El Patron will maintain open 



33 



house. The 
vision is typical 
of Doug, who is 
muy caballrro, 
as we Califor- 
nians express it. 
But, woven 
with the warp 
of his romantic 
dream, is the 
woof of intense 
practicality. 
Every step tak- 
en in developing 
the huge proper- 



Above, the lodge that Wallace 

Beery built on an island in Silver 

Lake, high in the Sierras 






Above, Bobby Jones and some 
fellow-golfers on the private 
course on Harold Lloyd's estate. 
Left, the inviting entrance to the 
Beverly Hills "retreat" of Marie 
Dressier 



cannot chance so great an outlay without definite assurance of 

dividends. 

Doug and Mary plan to make the ranch their permanent 

home and will take up residence there in the near future, 

according to their intimates, even though it will mean leaving 

their beloved "Pickfair." 

Almost as staggering is the venture of Gary Cooper, who, 

ranch-bred and land-wise, might logically be expected to turn 
to the soil. He owns thousands of acres of 
desert land in the Coachilla \'alley and is 
operating there an experimental farm, striv- 
ing to pioneer, in California, various tropical 
fruits. His project is still young and to 
date has not paid a profit, but the whole 
plan is fundamentally sound. It is a busi- 
ness enterprise, not a hobby, and Gary will 
make the ranch his home after the screen is 
through with him. He states frankly that 
he cannot be content in a city. 

Walter Huston is in open rebellion 
against city life. He has built his home 
high in the pine-clad San Bernardino 
jMountains, nearly one hundred miles from 
Hollywood. There, in a clearing, he has 
developed a compact little farm that yields 
a wide variety of produce. He comes to 
Hollywood only when his work demands his 
presence. 

You have heard of the Nevada ranch of 
Clara Bow and Rex Bell. To Clara, it is 
more than a ranch; it is the shrine that 
miraculously brought her happiness after 
Hollywood had turned its back on the " It " 
girl of the headlines. Healthy living in the 




Above, the ranch home of Clara Bow and Rex Bell — 

where they plan to retire when their movie days are 

over. Clara regained her health here 

ty has been dictated by sound business judgment. 
Three hundred acres are devoted to orange trees 
that are just coming into bearing. A herd of pedi- 
greed cattle roams the hills, and hundreds of acres 
yield a profitable hay crop. The most modern 
methods are in use. A chemist, an irrigation engi- 
neer and a horticulturist are on the payroll. A 
revolutionary, overhead irrigation system has been 
installed for the orange grove and the finest trac- 
tors obtainable have been purchased for the work 
of cultivation. The total investment is approxi- 
mately one million dollars, and even the wealthiest 




Ann Harding achieved privacy by 
home on a rugged Hollywood hilltop, 
standing on the porch, carved out of th 



^■U .,/ 




crisp Nevada 
air gave her new 
vitality, and the 
isolation of the 


r 


t?*. 


open range gave 
her new perspec- 
tive on life. She 
and Rex Bell 
have .stocked 


;^hK^ 


ii 


anc 


:h with 




H 


C3.1 


tie and 


building 


her 




>pacious 


. Above, 


she's 




ued on 


e natural 


rock 




QO) 



34 



I Could Live 

JVithout 

Love, 

says 

Sylvia Sidney 



Sylvia has just played Madame 
Butterfly^ who chose death when 
she lost her lover — but Sylvia says 
she wouldn't do it, herself. And, 
she adds, neither would YOU — - 
and explains why! 



By Faith Service 



You have just seen Sylvia Sidney in one 
of the most romantic roles ever written — 
the role of a woman who loved so greatly 
that she preferred to die, rather than 
live without the man she loved. But Sylvia 
beUeves that there are few girls or women like 
Madame Butterfly left in the 
world. And she told me why she 
has this belief. 

Sylvia had just finished "Ma- 
dame Butterfly" the night I talked 
with her in her spacious, English- 
type house in Beverly Hills. The 
dark, little exotic looked curiously 
attractive in this, perhaps, un- 
suitable setting. The house has 
paneled walls, with the look of 
age, and a pleasing scarcity of 
gew-gaws and overstuffed fur- 
niture. 

"I loathe Spanish houses," said Sylvia. "I had one for a 
while and I reached the point where I could have screamed 
every time I set foot in it. I hate anything Spanish or ornate 
or semi-Oriental in the way of houses or furniture." 

Here, in this manorial brick place, Sylvia — who is soon 
to play the title role in Dreiser's "Jennie Gerhardt," another 
tragedy of a girl who loved too well — lives with her mother 
and father. She dwells in the midst of solid, well-chosen 
furniture and quiet colorsj There was a fire of eucalyptus 
logs blazing or ti '• 1.."'° ^eaTth. There were substantial boxes 





Sylvia as Madame 
Butterfly, to whom 
Love Was Everything 



of cigarettes at hand. There were 
books — D. H. Lawrence and Marcel 
Proust, I noted, among others — on 
the solidly lined book shelves. 

When I arrived, Sylvia was seated 

at a very substantial desk, making 

out checks — probably substantial 

also. She wore maroon-colored 

and very soft satin lounging pajamas. 

She was without make-up. Her 

hair hung about 

her pale small 

face, uncurled 

and somewhat un- 

brushed. She had 

a bandage of 

gauze on both 

temples because 

of the soreness 

there from the 

Butterfly make-up. 

Likes Only 
Older Men 



JL -v 



'HIS tiny girl 
with the pale, 

provocative face is one of Hollywood's real Young Intellec- 
tuals. She will dislike the term, but I can think of none better 
off-hand. When she is in New York, she sees a great deal of 
George Jean Nathan and other eminent men of letters and 
achievements. Men with whom she can talk. 

She likes older men and only older men. She says that 

she never yet has been able to feel so much as an attraction 

for a man near her own age. She has never been in love with 

a youth in her life. She never had college-boy dates or went 

{Continued on page Q4.) 

35 



COAST 
FLASHES 



NeAvs and Gossip 



A If It's The Latest Hollywood News You Want, 




CONSTANCE BENNETT is reported 
to have given up the plan to adopt 
"Peter," the small four-year-old who 
looks so much like her. And why 
shouldn't he? Doesn't Connie say that 
he is the son of a cousin killed in an 
accident? Hollywood is wondering if 
Connie hopes that the public will get the 
impression that he is hers, in spite of her 
denials. 



El Brendel will have his little joke. "Is 
the baby son of Helen Twelvetrees and 
Frank Woody a chip off the old block?" 
According to reports, the proud papa 
(who is a realtor) and mama (who is now 
resuming her career) have also received 
inquiries about the growth of "the little 
twig." Appropriately enough, the Woodys 
live in Brentwood ! 



WATCHFUL 



Merna Kennedy may 'oe couched in luxury, but you won't find 

this little girl napping — not when a camera's around. She's too 

red-headed to close her eyes to her opportunities, as you have 

seen, no doubt, in "Laughter in Hell" 



QUIETLY, cordially, and without 
. issuing any Statements To The 
Press, Charles Farrell and the Fox Stu- 
dios have parted company. Charlie 
asked for his release from his contract so 
that he could free-lance for roles he 
wanted. Continuing at Fox, he would 
inevitably have been co-starred often 
with Janet Gaynor — and he felt that his 
roles were subordinate to hers. Janet 
understood — and they parted friends, 
after five and a half years of sharing suc- 
cess as screen sweethearts. 



t: 



IRENE DUNNE wants it distinctly 
understood that there is not a shred 
of truth in the New York divorce rumors 
about herself and Dr. F. D. Griffin. 
Irene was so upset about them that even 
the suspicious reporters beheved her— 
and helped her deny them! 3,000 miles 
haven't parted the Griffins! 



Did you ever go to a play or a movie, and 
feel like getting married afterward? 
That's how a New York play affected 
Sidney Fox and Charles Beahan, play- 
wright. The play — or maybe it was a 
movie — was very sad, with the lovers 
torn apart by Fate. It affected them so 
that they drove out to Harrison, a sub- 
urb, and awoke a justice of the peace at 
4 a. m.! 



IS it possible that Ronald Colman, now 
making "The Masquerader," is really 
planning to leave the movies? Doesn't 
seem possible when he just signed a new 
contract — but an intimate English friend 
of Ronnie's says he is quieth' "pulling up 
stakes," selling his possessions, and pre- 
paring to quit Hollywood. For the stage. 
For England. Or for the wilds he recent- 
ly bought on the Big Sur coast. 



■"HIS Hepburn girl is an 
eccentric. The first time 
we saw her, she was seated 
flat on the driveway at Radio, 
opening her morning's mail. 
Later we heard her upbraiding 
the costume department for 
putting a patch of the wrong 
color on the seat of the blue 
denim overalls she wears to 
work. "I've had them for 
years," she declared, "and 
they had a real shine — and 
now just look at the raw new- 
ness of that patch! And they 
charged me five cents for put- 
ting it on. too!" 

She baffles interviewers with 
the gay remark, "I can't quite 
remember," when they try to 
pin her down to the facts of 
her life. "Oh, you must be 
mixing me up with that other 
Katharine Hepburn!" she 
smiles, when they approach 
too close to the facts. A swell 
gag, by the way — invent a 
"double" and hang your his- 
tory on her! Her second pic- 
ture will be "The Great De- 
sire," with Colin ("Journey's 



HEARING SOME GOOD LINES 




End") CHve as leading man. 

Then she may do either "Three 

Came Unarmed" with Joel McCrea or 

" Little Women" — or both. 



Lippmnn 

Oh, yes, Lyle Talbot and E — :.„i., ^L^nwyck have 
their minds on their scenarios, all right. In fact, 
they're rehearsing for "Ladies They Talk About" 



WHERE did Tallulah Bankhead go? 
Back to Broadway to star in a playf 



36 



of the Studios 



LATEST 
BULLETINS 



You Are Sure To Find It In Motion Picture > 



HOW did Karen Morley happen to 
reveal her marriage to Charles 
Vidor, the young Hungarian director, 
after keeping it secret for a month? 
That's as much a mystery as the reason 
for her having kept it secret in the first 
place. Hollywood (and how about your- 
self?) is getting a bit weary of this 
mystery business, especially when there's 
no reason for it. As with many fihn 
newlyweds, work delayed a honeymoon. 

The Snow must go On 




Ray Jones 



The show can wait, says Gloria Stuart, 
who's about to do "Private Jones." But 
she doesn't need snowshoes to go places! 

LUPE 'VELEZ bought a leather belt at 
_/ a saddle shop the other day for 
Johnny Weissmuller. "Garbo has one 
just like it," said the clerk. "Yass," said 
Lupe, and instantly drooped her eyehds^ 
set her mouth in weary lines, and then 
and there became Garbo. Hollywood has 
few mimics to equal Lupe. Down at 
Palm Springs, teaching Lupe how to ride 
a bicycle, Johnny was wearing the belt. 



And speaking of Garbo, Barbara Kent 
and Harry Eddington, Garbo's manager, 
have just become man and wife. They 
hopped over to Yuma, Arizona, for the 
ceremony — and were much annoyed 
when reporters discovered the fact 
ahnost immediately. Harry, Uke Greta, 
evidently prefers secrecy. Now, Holly- 
wood girls are wondering how many 
Garbo secrets Barbara will learn. 



JANET GAYNOR parts with her hus- 
band, Lydell I'eck — who gave up his 
Oakland (Cal.) law practice to be- 
come a film executive and be near her! 
That, beyond question, is the most sur- 
prising news in many a month. For 
the movie colony has always had the 
idea that if Janet and Lj'dell ever did 
crave to separate, no one would ever 
know it — not so long as Janet was on 
the screen. "Clashes of temperaments" 
caused the break, says her lawyer, who 
adds that they simply decided that "if 
they could not live happily together, 
they should be separated." Now, Holly- 
wood wonders if Charles Farrell "broke" 
with Janet to save her embarrass- 
ment when her separation from her hus- 
band was announced. 

THE dashing Chevalier, a bit sub- 
dued, is back from a Paris that is 
reported to be angry with its former idol. 
His divorce action against Yvonne 
Vallee wasn't popular, and Paris still 
feels that he isn't 
sharing his salary 
with his own country 
as generously as he 
should. (Maybe Pa- 
risians haven't heard 
about his charities.) 
A Hollywood writer 
lunched recently with 
Yvonne abroad and 
found her disconcert- 
ingly reconciled to 
the loss of the smihng 
IMaurice. Yvonne is 
popular in Paris, her- 
self, and will have no 
difficult}' in re-estab- 
Ushing her career. 

And guess who is 
taking Jeanette Mac- 
Donald's place as 
Chevalier's leading 
lady in "The Way to 
Love!" The coming 
Carole Lombard! 



WHEN Con- 
stance Bennett 
was assigned to 
do "Our Betters," 
her old pal, Joel 
McCrea, was assigned 
as leading man. And 
much to everyone's 
surprise, he begged 
off. He says he 
means it about not 
wanting any more 
dress-suit roles! 



THE Adolphe Menjous (Kathryn 
Carver), reconciled again, are just 
too honeymoony — which is something 
new for formerly estranged Hollywood 
couples to be. Adolphe didn't have far 
to move when he came back — he had 
been living only two doors away. 



Tom Mix, like his faithful old pal, 
"Tony," has retired from the screen. 
Recent injuries and illness dictated his 
decision, as he was finishing "The 
Rustler's Round-Up." After twenty- 
four years before the cameras, Tom says, 
he needs a rest. He plans a tour of the 
world. Millions will wish him Bon 
Voyage ! 



IILLL^N ROTH, who suddenly re- 
^ turned to the screen in "Ladies 
They Talk About" and had authored a 
screen story, "Stage-Door Johnny," has 
as suddenly left — to retire and marry 
Municipal Court Justice Shalleck of New 
York! 



WHEN HEPBURN MEETS SUNBURN 




You guessed it. Katharine Hepburn is daring Joel McCrea to 
go in for a swim, as well as a tan. But Joel's staring her down! 



37 



News and gossip of the Studios 



COLLEEN MOORE, who has been 
under contract to M-G-M many 
months, awaiting a comeback picture, 
is now scheduled to return in "Lost." 
And guess who will be Mrs. Albert 
Scott's co-star! Jackie Cooper! 



From all appearances, another famous 
screen association has come to an end — 
that of Marlene Dietrich and Josef von 
Sternberg. For Von has gone to United 
Artists, while Marlene remains at 
Paramount. And another favorite 
Hollywood legend is exploded — the one 
that her director held Marlene in a 
hypnotic spell and that she would make 
no picture without his guidance. 



BESIDES the additions to her house- 
hold that you see below, Marian 
Nixon has made another very important 
acquisition — an adopted baby. She and 
her wealthy young husband, Edward 
Hillman, Jr., quietly looked around for 
an infant they would like to call their 
own^and found a ten-weeks-old baby 
boy. So endeth another "persistent" 
divorce rumor. 

LOOKS LIKE PUPPY LOVE 




Litterly speaking, that is. Marian Nixon 

calls her new pets "Berpeips." Their 

dachshund mama came from Berlin, and 

their chow papa from Peiping 

THERE are many people who wonder 
how and when Will Rogers ever 
finds time to write his daily newspaper 
box. Probably many suspect that he has 
a "ghost" writer. Not so. If you should 
get up that earlj' some morning, you'd 
see Will heading for the studio with a 
portable typewriter — on which he pounds 
out his "copy" when he finds a spare 
moment on the set. He tries out his 
comments on the stage hands before 
sending them . . . 




Somebody saw Wallace Beery moping around the M-G-M lot, 
1 /^-\TTrcriA/f 17 ^"'^ took him over to meet some chorus girls. Still he didn't 
■L''-'-'-^-*-'^'-'-!^!^ cheer up. But just wait till you see him with Marie Dressier in 
"Tugboat Annie" — their first reunion since "Min and Bill"! 



A FTER seeing the acting of Charles 

jCx. Laughton in "Devil and the Deep," 
"The Old Dark House," "Payment De- 
ferred," "If I Had a Million" and "The 
Sign of the Cross." America is going to 
get a shock of disappointment when it 
learns that Hollywood let him slip away 
to do a play on the London stage until 
Spring. He has been one of the few 
genuine sensations of the past season. 
Coming to the screen unheralded from 
the London and New York stage, he was 
immediately discovered by the public — 
who are the real star-makers, in the 
final analysis. It's only a matter of time, 
when he returns, until he is starred 
officially. 

Passing through New York, the man 
who satirized Nero and made you like 
him revealed that Hollywood had given 
him a nickname. His weight and his 
English accent conspired to make Dick 
Arlen hail him as "Buster" — and the 
name stuck. Moreover, he enjoys it, 
the way he enjoys Hollywood. 



E"VERYONE can breathe more easily 
now. John Gilbert and Just-a-Wife 
Virginia Bruce Gilbert have weathered 
their first spat. The little misunder- 
standing occurred at Palm Springs, and 
John burst out of their hotel bungalow at 
three a.m. and rushed back to Hollywood, 
leaving the Little Woman without a car 
and in an "I-don't-care-if-he-never- 
comes-back'' frame of mind. But a few 
days later they were at the Hearst ranch 
holding hands, and everything was lovely 
again. If \'ou can believe their friends, 
Virginia is even rehearsing lullabies and 
shopping for tiny things. 



When Clara Bow left for the East with- 
out Rex Bell (who was completing a pic- 
ture), the gossips licked their chops and 
whispered divorce rumors. Clara just 
laughed — not bothered a bit. Rex 
joined her in New York in two weeks, 
and off they went to Europe for a be- 
lated, long honeymoon. With her, Clara 
took a bothersome case of influenza. 



38 



News and Gossip of the Studios 



I 



T looks like a hard winter for some of GOING NATIVE IN THOSE HOLLYWOOD JUNGLES 

our native stars, the way Hollywood 



is filling up with famous newcomers. 
From Germany come Lilian Harvey, the 
lithe English girl who became Germany's 
leading female star, and Wera Engels, 
pretty daughter of the former comman- 
der of the Cruiser Emden. From Eng- 
land comes Benita Hume, Leslie How- 
ard's leading lady in "Reserved for 
Ladies." From the New York stage 
come Philip jMerivale and Eugenie 
Leontovich, the GrusUiskaya of Broad- 
way's "Grand Hotel." From Czecho- 
slovakia, via Broadway, where he has 
become THE matinee idol, comes 
Francis Lederer. And Henri Garat, 
French star, is to be Janet Gaynor's new 
screen Romeo. 



The whisperers have it that Mary Pick- 
ford is banking her entire screen future 
on the outcome of "Secrets." If the 
picture is not an outstanding success for 
Mary, both financially and personally, 
her close friends say, she will retire. 
Because there will never be another 
star Uke Mary Pickford (no, not even 
Garbo), we hope "Secrets" is the picture 
of the year! 




DE MAUPASSANT might have 
written this little true story, in 
which, for obvious reasons, the charac- 
ters must remain anonymous. A former 
star, whose husband has been having an 
affair with his secretary, named another 
woman in her divorce complaint. And 
now the ex-husband has been spurned by 
the secretary, who thinks he must have 
been deceiving her! 



Rochelle Hudson, the Oklahoma girl with 

the Follies figure, cuddles a leopard in the 

title role of "The Savage Girl" 

"TT'S twenty-five below zero, but we 
JL expect cold weather any day now," 
postcards director William Van Dyke 
from the Arctic, where he is making a 
picture for Metro. Marooned in a 
monotonous ice-packed waste, the rest- 
less and adventurous director is none too 
happy. "But we're getting gorgeous 
shots of scenery and clouds for ladies to 
coo over," he writes. "They'll say, 
'What an ideal spot!'" He's the man 
who gave you "Trader Horn." 



THE GIRLS ANSWER THOSE COURT SUMMONSES 




Ginger Rogers and Eleanor Holm answer 

the call of the Palm Springs tennis courts 

in swim suits. The pool's nearby! 



English 
And Claudette Colbert, wearing the new 
sport shorts, is all set to play tennis, the 
way she played Nero's Empress! 



Watch out, Weissmuller! Here comes 

Buster Crabbe, champ swimmer, as the 

Lion Man in "King of the Jungle"! 



T 



VE put on twenty pounds since I left 



letter to a friend. (Ann's husband, Leslie 
Fenton, is in a London play — and Ann is 
still carrying on a cable correspondence 
with Warners about That Salary Raise.) 
Greta Garbo also has grown "much 
stouter," according to foreign news- 
papers. It takes Hollywood, with its 
worries and rivalries, to keep a girl thin! 



New York reporters claim that the 
capture of Robert E. Bums, author of 
"I Am a Fugitive from a Chain Gang," 
didn't take place until he started making 
personal appearances with the film. 
That was a bit too much for Georgia — 
and they then tried to get New Jersey to 
extradite him. And just when the furore 
about the picture was dying down, up it 
flared again! 



L" 



after finishing "Rasputin and the 
Empress," Ethel Barrymore immediate- 
ly started rehearsals of "Encore," the 
play in which she was to portray a prima 
donna. Tired out, she came down with 
influenza during the tryouts in New 
Haven and was ordered to rest. With a 
raging fever and against her doctor's 
advice, she returned to her New York 
home. Pneumonia resulted, and her son, 
Samuel Barrymore Colt, was summoned 
from California. But by the time he 
arrived she had passed the crisis and was 
recovering — though far too ill to attend 
the premiere of the picture in which she 
acted with both her brothers for the first 
time . . . Another famous actress who has 
{Continued on page gi) 



39 




Longworth 



Don't miss this chance to get an "inside" look at **42nd Street," the big 

picture that turns the show business inside out and shows you how 

Broadway really works. This is a close-up of the drama-behind-the-drama 

of the picture — a view that outsiders rarely have ! 

By Jack grant 



To see a picture through Hollywood's eyes is to see the 
drama within a drama, to reaUze the painstaking devotion to 
tiny details, to feel the romance, the behind-the-scenes hu- 
mor or pathos, the imaginative and grueUing work of acting. 
Seeing a picture as Holl}rwood sees it, your enjoyment will be 
keener, your appreciation of picture-making more acute. To 
give you this new pleasure, MOTION PICTURE is pubhshing 
a new series, reveaUng the "inside" stories of big pictures 



that only Hollywood knows. This is the second of the series, 
the "inside" story of the filming of "Cavalcade" having 
started the series last month. The author not only, gives you 
a hint of what "42nd Street" is all about, but tells you 
intimate details of production — revealing, for instance, what 
tests the chorus girls had to pass to win roles, and how one 
star, who was supposed to feign stagefright, did have camera 
fright. But read for yourself ! — Editor. 



40 



w 



HEN you see "42nd Street," 
you will witness a backstage 
drama that is authentic. You 
will follow the destiny of a 



musical show from the day of casting to the 
night of opening and in the course of the 
development of the numerous stories of its 
people, there will be revealed to you many 
incidents that have parallels in the real-life 
annals of showdom. It was written, directed 
and played by people who know their Broad- 
way and Forty-Second Street. 

Because "42nd Street" is something in the 
nature of a chapter from the biographies of 
many stage-trained members of the film fra- 
ternity, Hollywood watched the picture's pro- 
duction with unusual interest. Actors working 
on other stages on the Warner Brothers' lot 
were frequently to be found 
"visiting" the "42nd Street" 
set. They prowled about the 
wings and back-drops of the 
three large theatre stages 
especially constructed for the 
picture, in replica of well- 
known New York and Phila- 
delphia theatres. Sentimen- 
talists always, these prowling 

{Continued on page jo) 

Right, William Powell, who 
can't keep away from the 
"42nd Street" set, is put out 
AGAIN by the chorus girls. 
Below, some of the theatre 
folk working on the picture: 
left to right, director Lloyd 
Bacon, George Brent, Warner 
Baxter, Ned Sparks, Bebe 
Daniels, Allen Jenkins, Gin- 
ger Rogers, Eddie Nugent, 
Guy Kibbee, Una Merkel, 
Ruby Keeler, Robert Mc- 
Wade, George Stone and Dick 
Powell 



Left, Barbara Bebe 
Lvon and her nurse 
visit Mama Bebe Dan- 
iels in the theatre on 
the "42nd Street" set 
d Ruby Keeler 
and Dick Powell 
also take time off to 
entertain her 




You'll read how 
Busby Berkeley 
(in left fore- 
ground, right) 
picked t hje 
chorus girls 



41 








Miriam Jordan John Warburton 



Fox 



WHEN, at sixteen, she was told by a man whom 
she had just met that she was "the ideal type 
of English beauty," she thought he was "fresh." 
Perhaps that was the result of being educated at 
Skinner's School for Young Ladies. But the man persuaded 
her parents to enter her photograph in a beauty competition, 
and her beauty won her the right to sit in a glass cage at 
Wembley Exposition for twelve hours every day, while 
thousands of British from all over the Empire paid a shilling to 
look at her. And it was well worth it. Miriam is a blonde 

with sea-blue eyes shaded 

with long eyelashes, and a 
pink-and-white complexion 
that needs httle make-up. 
Charles Dillingham, stage 
producer, paid her $ioo a 
week just to walk down a 
flight of steps in "Three 
Cheers" in a gorgeous eve- 
ning gown. From such parts 
she progressed to drama, and 
was playing the small role of 
the sister in " Cj^nara " in a 
road company in I.os .\ngeles 
last August when a Fox execu- 
tive spotted her and signed 
her to a contract. Since then 
she has played leading lady 
to Warner Baxter, John 
Boles and Clive Brook. 



We Believe in Her 



Series Number 11 

Miriam Jordan and John Warburton join distinguished com- 
pany in becoming the eleventh set of newcomers Nominated 
for Stardom by MOTION PICTURE. Glance over the list of 
our previous Nominees: 



Gwili Andre 
Tala Birell 
Ann Dvorak 
Glenda Farrell 
Katharine Hepburn 
Aline MacMahon 
Lyda Roberti 
Gloria Stuart 
Dorothy Wilson 
Diana Wynyard 



Without exception, all of these new players have shown, from 
the very first the kind of talent that brings fame and fortune 
to unknowns. In nearly every case we were the first to pay 
them tribute. And since we nominated them for stardom all 
of them have won big roles in big pictures. 

Watch for their names in casts of pictures. And check up on 
our prophecy of stardom for Miriam Jordan by seeing her 
opposite Warner Baxter in "Dangerously Yours" and for John 
Warburton by watching him in the role of Edward Marryot in 
"Cavalcade."— Editor. 



Free-Lax CE 

HE has blue eyes, heavily fringed, and he looks boy- 
ish, but tired and sensitive. Inquiry reveals that 
he was in the War (in the aviation corps) and 
was invalided out in 1917. His English accent 
has almost worn off in the eight >'ears in which he has lived in 
the United States, and he has none of that aggressive supe- 
riority of Englishmen in the cartoons. He will settle down in 
Hollywood, the movies permitting, he says, and will become 
an American citizen. "I infinitely prefer your country to 
England," he says, without showing signs of apology. 

For years he played on 
Broadway. Then a telegram 
took him posthaste from 
Alice Brady's arms, \ou 
might sa\'. He left the play 
in which he was appearing 
with her, after the Saturday- 
night performance, and b.\' 
Monday was working in 
"The Silver Lining" in Hol- 
lywood. Except for a bad 
siege of double pneumonia, 
he has been steadih- at work 
ever since. At the moment 
three studios are discussing 
contracts with him. He is 
seen much with Estelle Tay- 
lor, but they're not engaged, 
he says regretfully, yet with 
still a ray of hope. 



George Brent 
Bruce Cabot 
Buster Crabbe 
Preston Foster 
William Gargan 
Dick Powell 
George Raft 
Randolph Scott 
Lyle Talbot 
Robert Young 



We Believe in Him 



Because she has managed to live down the appellation of 
"beauty contest winner." Because she is an individuahst. 
Because she went into important roles at once at Fox. Because 
she is alread\' playing leading lady to Warner Baxter for the 
second time in " Dangerousl}^ Yours." Because all the women 
employees at the studio are singing her praises. Because she 
is living quietlj' and not seeking publicity, or romance rumors. 
Because she has six sisters, and a girl with six sisters simph' 
has to succeed! 



Because he says he won't quarrel about parts, but will do 
anything that is given him. Because he is in demand by every 
director for whom he has worked. Because he made a New 
York hit in "Journey's End," and is creating a big screen 
impression in "Cavalcade." Because he has a beautiful enun- 
ciation (the Oxford influence) and clean-cut features. Because 
he has adult experience and a boyish face. Because he is 
amazingly honest and sincere. Because John Galsworthy 
approved him for the screen version of "The Apple Tree." 



Motion Picture Presents the Comin 



42 



JOHN WARBURTON 

He's tail, slender, English. But he has been in 
America so long (eight years) that he talks like an 
American and wants to be one. Straight -from 
Broadway, where he was always busy, he invaded 
the movies with a one-picture contract. Now, after 
"Cavalcade," he's due to make a long stay! 




MIRIAM 

JORDAN 



She got her start in theatrical life by the familiar route of a 
beauty contest. (This one was in England.) And when her 
chance come, Miriam proved that she hod that even more 
important asset — talent. In three pictures, she has played 
opposite Warner Baxter twice. And that's on achievement! 



Stars— They'll Be Your Future Favorites 



43 



Clothes Gossip 
From Hollywood 



By 



Who's Wearing What and 
How Is Revealed in Motion 
Picture's New Department 
of Advance Fashion Tips 
from the New Pictures 





We believe that it is Hollywood, and not Paris, that is setting the 
fashion pace these days for Miss America. And each month Motion 
Picture Magazine is scouting the sets of pictures in production for 
advance style tips for you. However, we can only tell you about the 
fashion hints here— so don't fail to watch for the new pictures men- 
tioned in "Clothes Gossip from Hollywood" this month, and see how 
the newest styles are actually worn by your Hollywood favorites.— Editor. 



Irene Dunne, above, models the very frilly 
Gay Nineties evening ensenable that she wears 
in "The Lady." Upper right, pictured with 
Phillips Holmes, she is wearing the tea gown 
that Marilyn describes as fit for the 1933 bride 

44 



B 



ELIEVE it or not, Miss 1933, but you are in for a severe jolt 
when you see Irene Dunne in her wardrobe of the Gay Nineties 
in M-G-M's "The Lady." In the first place, though Irene's 
gowns were the latest st>'les forty years back, they could easily 
be adapted to what you are going to wear this Spring. Irene, herself, is so 




Left, Boots 
Ma 1 lory in 
scenes from 
"Handle With 
Care," with 
James Dunn, 
showing the 
very unusual 
neckline and 
sleeves of her 
new gowns. 
The brown- 
and-yellow 
dress is at the 
extreme left 
and' the other 
is the blue- 
and-white 
checkered 
dress 



crazy about her "forty-year-old" ward- 
robe that she has actually had the eve- 
ning ensemble (cape and all), which you 
will find among the illustrations of this 
article, actually copied with only slight 
modifications for her personal wardrobe! 
Note carefully all the frilled pink 
ruffles of this evening cape with its long 
streamers of pink satin. What could be 
more flattering and feminine than a gar- 
ment like this to slip on over your own 
favorite white Spring evening gown? 
And don't be afraid of such an old-fash- 
ioned, delicate color as pink. In fact, 
pink is just about going to lead this 
Spring's fashion parade from Holly- 
wood. It is especially good for evening 
clothes. Take a good look at this cape 
Irene wears in "The Lady" . . . and if 
you want to be awfully smart and femi- 
nine and Spring-y, you won't hesitate to 
step forth in its frilly billows with your 
very newest gown. 

Just the Thing for Early Spring 

ALSO, what could be grander for the 
^. early Spring bride than an exact 
duplicate of a tea gown that Irene wears 
in the same picture? In the photograph 
of Irene with Phillips Holmes, notice 
that those flimsy, but grand, full sleeves 
of white chiffon, and even the long train, 
are good for 1933. According to Adrian, 
famed stylist for M-G-M stars, "ador- 
able clothes" are the keynote of the ad- 
vance styles and that just about de- 
scribes Irene's "old-fashioned" wardrobe 
in "The Lady" . . . which is so very "new- 
fashioned" that it is about six months 
ahead of the times. 

However, girls, you are going to have 
to do something with those large puffy 
sleeves you have been wearing on your 
street and afternoon gowns, because 
sleeves aren't going to be so large and 
puffy for daytime dresses! That's de- 
cidedly final. Of course, your sleeve and 




This is the black crepe dinner gown that Ann Harding wears in "The Animal 

Kingdom" and about w^hich Leslie Howard said so many complimentary things 

to Ann. Don't miss what Marilyn has to say about the double waistline, and read 

her complete description of this gown in the accompanying article 



45 




Above, a close-up 
of Raquel Torres' 
fox-tritntned white 
lace gown in 
"That's Africa." 
Right, Raquel 
sets a new style 
for evening scarves 



neckline must be different — 
the more unusual the better. 

You won't find a cuter, 
newer treatment of a day- 
time sleeve than in a certain 
little dress Boots Mallory 
wears in a scene with James 
Dunn in "Handle With Care." 
The dress is of brown-and- 
yellow wool, with a plain 
little silk collar of yellow. 
But notice the way the silk is 
inset, into the sleeve just be- 
low the shoulder line! Avery 
simple little model to copy — • 
and a grand little dress to 
wear under a coat on those 
nippy, office-bound 
mornings. How 
much more appro- 
priate a sleeve like 
this is for under- 
coat wear than the 
exaggerated "puffs" 
of last winter's 
models! 

In a second scene in "Handle With Care" (again 
with James Dunn), observe another very cute and 
different treatment of Miss Mallory's sleeves. The 
dress is blue-and-white checked wool with a flare 
sleeve, cunningly trimmed with a plain ruffle of 
organdie and a dozen white buttons. You can flare 
your sleeves . . . you can trim them with buttons 
and laces and organdies . . . but don't puff them too 
much, at least not so much as on your old dresses! 

When you see Boots in this picture, in her clever 
wardrobe, you'll understand why she was just 
elected a Baby Star. And you'll say, "Her studio 
must have big plans for her to give her such a start!" 



Sally Hilars, above, displays the green 
diagonal wool street dress, trimmed with 
marten, which she wears in "Second- 
Hand Wife" and, left, Sally in her black- 
and-white lounging robe 

Ann's Dress Dazzled Even Leslie 

IT ISN'T often that a Hollywood actor has 
a great deal to say about the wardrobe of 
the feminine stars on a picture. In the first 
place, actors get used to seeing very grand 



46 



Gone are the 
days when 
everything 
fashionable 
had to come 
from Paris. 
Now Holly- 
wood is fast 
becoming 
the fashion 
center of the 
world. Left 
is Westlake 
Park, Los 
Angeles, not 
far frotn the 
film city 




Jean Arthur is 
a study in gray 
in this hair- 
cloth street 
suit in "The 
Past of Mary 
Holraies" 




Adrienne Ames looks striking, above, in her unusual white 

rough crepe evening ensemble, the jacket of which is trimmed 

with sable in a novel manner. The center picture shows 

Adrienne sporting the plaid rough wool crepe ensemble 



clothes. You can imagine the 
surprise of Ann Harding, 
then, when she walked on 
the set of "The Animal King- 
dom," wearing a black crepe 
dinner gown, to have Leslie 
Howard exclaim: "Ann, if 
you don't beg, borrow or 
steal that dress for your very 
own . . . then, my girl, you do 
not know your own style!" 
"Do you really like it?" 
asked Ann, laughingly. 
"It's perfect," exclaimed the more or 
less blase Mr. Howard. 

The dress that so caught Mr. Howard's 
attention is of heavy black crepe with a 
small off-shoulder collar of white satin 
|i V trimmed with rhinestones. The sleeve 

M A starts to puff, ever so gently, just under 

yj^^^^i the armpit and then changes its mind 

M^^^Kr ^i^d So^s straight and tight right down 

^^^^^^ to the wrist. It is too bad that Ann has 

to do so much sitting down in the scenes 
of "The Animal Kingdom" in which she wears this gown; 
otherwise it would be easier for you to see the clever double 
waistline it features. It has a "natural waistline" and then 
a "long waistline," which starts below the hips where the 
skirt is shirred on. If you can afford only one "dress up" 
garment this year, you can't beat a copy of this model, which 
can "go places" or "stay home" and be equally elegant in 
both settings. 

Before we left the RKO studio, we drifted over to a set 
{Continued on page 84) 



47 




Here is a secret from the set of "Secrets" — a revelation of what Mary Pickford, Leslie Howard 
and director Frank Borzage did with their extremely valuable time, between scenes. This picture is 
something new for Our Mary — a tense love story in which neither age nor heartbreak nor hardships 
can alter her devotion to the adventurer she loves. So what could be more natural than their read- 
ing, between scenes, the magazine that has been devoted to the movies for twenty-two adventur- 
ous years? MOTION PICTURE, the old friend from whom Hollywood withholds no secrets. The 
magazine that told, in the issue they're reading, the secret of why Mary wanted to do "Secrets"! 

48 



Ronald Colman Reveals 

His Greatest Secret! 



There's a surprise in store for you in 
this unusual interview — ^when Ronald 
suddenly explains why he is an actor, 
hating the spotlight as he does, and 
why he knows he won't miss fame 
when he steps out of films! 

By GLADYS HALL 



work I do, the work on the set, but dislike, intensely, all of the 
rest of it — -publicity and attention and— and — " 

"And interviews," I prompted pleasantly. 

"Well, all the rest of it," smiled Ronnie. 

"I know," I said. "It is hard. As a matter of fact, I 
really came here to ask you about your — -er — 'screen kisses." 
Desperately, I took the plunge — feeling just a bit ridiculous 
(as interviewers often do). "I mean, have they changed? 
Do you — ah — kiss differently from the — from the way you 
used to kiss?" 

Ronnie elevated his fine brows, quizzically. "I wonder?" 

he replied. "I heard about the idea. It — 'it hardly seems to 

fit me', do you think? I wouldn't have a notion what to say 

about it. I suppose that the kind of kisses one gives on the 

{Continued on page 86) 



I MAY as well come right out in the open and be 
honest with you. I can't imagine anything more fasci- 
nating than an afternoon spent with Ronald Colman, 
talking of everything under the sun. And I can't 
imagine anything harder to do than to interview him. 

He is completely charming. He has interests that range the 
world around and include reincarnation, tennis, books, dogs, 
movies, real estate, farming. He loves good food and old 
wines. He loves the sea and ships. He talks of all these 
things with the detachment and humorous profundity of a 
Galsworthy character who, most certainly, would shudder at 
being interviewed. 

I'll take you right into his house with me and tell you ex- 
actly what happened as I tried to get from Ronnie a story 
that would startle and intrigue the world. 

His man-servant admitted me. The house has an English 
atmosphere, but is probably hybrid-Spanish in architecture. 
I walked down a narrow, steep flight of 
white stone steps, through a paneled hall 
and spacious living-room, and into a 
stone-paved patio, where ivy grew over 
dim white walls and a greenish image of 
Pan dripped water from an ancient pipe. 
The house has the look of being lived in, 
and cared about. And there, in the semi- 
twilight of an early winter's day in Cali- 
fornia, we sat and smoked and talked . . . 

I said, after the first greetings, "We've 
got to get an 'angle,' you know. One 
has to have an angle when one does an 
interview these days — " 

He's Not a Woman -Hater Yet 

RONNIE smiled and said, "It must 
_ be hard. Especially when you have 
interviewed an individual over and over 
again, as you have me. What is there 
left for me to say that I have not said? 
I have told > ■> that I am not a 'woman- 
hater' but, I hope, merely an idealist. 
WTiich may or may not be huneless. I 
have told you that I love the acLual 





49 




Longwortti 



Take a lengthy look at the face of Glenda Farrell — for it's the face that is launching a thousand 
prophecies of stardom a day. Hollywood is raving about this newcomer's simply grand larceny 
in stealing every picture that comes her way. It all started when she had the twins in "Life Begins," 
and then betrayed Paul Muni In "I Am a Fugitive." It continues in "The Match King," ' , ne Wax 
Museum," "Grand Slam" and "Blue Moon Murder Case." Where did she come from, and what is 
she like in real life? That's what everybody's asking. You'll find all the answers in the story opposite! 



50 



Gay, Gifted and 



Going Places 



Thafs GLENDA! 



If you haven't seen this blonde Farrell girl on the screen yet, you've missed one of the 
talkies' biggest treats. And if you have seen her, you won't want to miss this pen- 
portrait of this vivid actress who says she'll probably "fall apart" before she ever 
stops acting. Read it and weep that you don't know her in person! 



By TERRENCE GOSTELLO 



Last month, MOTION PICTURE 
nominated Glenda Farrell for star- 
dom because "her face is the most 
important part of her," because 
after "Life Begins" her studio 
was deluged with demands to 
see more of her, because she is 
equal to any role, because Paul ^ 
Mani, who knows acting, prais- 
es her highly — and because of 
her small son, Tommy. Now, 
we present a close-up of this 
new sensation — revealing her 
past, her personaUty, and her 
possibilities. She's some- 
one worth knowing! — 
Editor. 



E 



fVEN before "Life 
Begins" — the War- 
ners' much-discussed 
childbirth opus — • 
was out of the cutting room, 
rumors were passing about 
Hollywood of the smash per- 
formance turned in by Glenda 
Farrell, as the frowsy dame 
who devoted her time in the 
maternity ward, awaiting an 
unwanted pair of twins, to sing- 
ing " Frankie and Johnny" and 
drinking gin from a hot-water 
bottle. And that "new find" bus- 
iness began to go around again. 

Cinemania loves its discoveries 
just as the careless lady in the film 
came to love her twins. Imagine the 
chagrin of the dwellers in the closed-in 
village upon learning that this same 
Farrell was only repeating the performance 
which, in the stage ^•Lriio' { tin? play a few 
months before " :..e few kind words 




said about the short-lived Broadway 
piece ! 

No, the smell of greasepaint is scarce- 
ly a strange one to Glenda. She has 
been used to it ever since seven 
years after her earthly appearance, 
on June 30, 1904, in Enid, Okla- 
homa. Her debut was that 
always-charming one of the as- 
cending Little Eva in an "Uncle 
Tom's Cabin" troupe, and 
with the exception of occa- 
sional pauses to pick up an 
education, Glenda has been a 
citizen of the make-beheve 
world ever since. 

Her father was Irish, her 

mother German, with an 

abundance of theatrical and 

musical abilit}' on the distaft" 

side of the family for several 

generations. The axiom that 

kid troupers get a rolling 

start on other entrants in 

the dramatic lists is surely 

borne out again in Glenda's 

case. She played the road 

when it was The Road. 

Has "Lived in a Trunk" 



I 



'VE spent most of my life 
in a trunk," she admits. 
"Broadway was my first stop- 
ping place — and I suppose it 
will be my last. Just now the 
engagement is in Hollj-wood, and 
a very, very nice one it is, too!" 
But they haven't all been very, 
very nice ones. Not by a very, very 
long way. Stock, traveling com- 
panies, flops on Broadway, leavened 
by enough successes to keep up the 
spirits and the finances. And if you think 
that an occasional run, just for the sake of 
(Continued on page pj) 



51 



Would You Call 
of Movie Stars 




If a chap who isn't an actor marries a 
as of old, to be an "unknown" husband? 
days, against being ''forgotten." Con- 
movie game, himself. Irene Dunne's 
in New York. In one way or another. 

By N A N C Y s 



r^f 



IN the most publicized, three- 
sheeted town in the world, are 
there a group of men standing 
on the rim of the SpotUght of 
Fame who are still as generally over- 
looked as President-Elect Roose- 
velt's famous "forgotten man"? How 
about the non-acting husbands of 
actress-wives . . . the men who have 
given up interesting, and often very 
profitable work of their own because 
they love their spotlighted mates so 

well that they are wiUing to submerge their own futures to live 
with them and near them in the land of the movies? 

Is it theirs not to reason why — theirs but to do and die of 
humiliation when a reporter, carelessly and casually, refers to 
one of them as "Mr. Star"? Theirs but to cringe, when the 
Hollywood hostess herds the stellar wife into a seat among the 
"celebrities" at a social function and places friend husband far 
down at the end of the table among the nonentities, the 'neces- 
sarily invited" and the relatives? Theirs but to listen, bored 
and uninterested, to the unending shop-talk of studio people? 
Did you see Constance Bennett in the role of the movie star 
who married the socially prominent, non-acting gentleman from 
Santa Barbara in "What Price Hollywood"? Neil Hamilton, 
as that yawning, bored and ignored character, interpreted the 
role of "a forgotten man" with such understanding that you 
couldn't help but feel that he must have known many of them! 

Can Katharine Be Kidding? 

JUST by way of giving you a fair example of how completely a 
non-professional husband in the background can be "for- 
gotten," consider a certain Mr. Ludlow Smith. Did you ever 
hear of Mr. Smith of the New York and Philadelphia social sets? 
It is a ten-to-one chance that you haven't. But if you have been 

52 



Top left, Irene Dunne and her 
husband, who is NOT "Dr. 
Dunne," but Dr. F. D. Griffin. 
Left, Peggy Shannon and Allan 
Davis, who "separated" to ad- 
vance his career. Below, Bette 
Davis and Harmon O. Nelson, 
Jr., whose name reporters muffed 
at first 




the Husbands 

''Forgotten Men"? 



I glamourous screen lady, is he still fated, 
' No, indeed! The boys fight, these 
' stance Bennett's Marquis got into the 
' dentist-husband sticks to his practice 
they're out to make xv2iVi\^?>{ox themselves! 

I P R Y O R 



Top right, Constance Bennett 
and the Marquis de la Falaise, 
who needs no introduction. 
Right, Colleen Moore and Albert 
Scott, her Silent Partner. Below, 
Elissa Landi and her husband, 
who is John Lawrence, Barrister, 
to hordes of Londoners 





Keystone 

keeping up with j'oiir movies in the 
last few months, you most certainly 
have heard of Mrs. Ludlow Smith, 
nee Katharine Hepburn. You might 
ask Mrs. Smith about ]\Ir. Smith 
until you are black in the face, and 
here's what you might get in reply 
(as baffled reporters have) : " So they 
say I am married, really? To a Mr. 
Smith? Well, maybe so . . . I've 
quite A;r^o//f«.'" 

Or take that other fair charmer on 
the RKO lot, Gwili Andre. A very close friend of Gwili's in 
Hollywood will vouch for the information that the beautiful 
Andre had a husband a couple of years ago. But as to his name, 
occupation, station in life, coloring of hair and eyes, this friend 
has not the vaguest idea. Nor does she know where the gentle- 
man resides at the present moment. "It was really the vaguest 
sort of a marriage," is her only comment. "I can't seem to 
remember anj-thing about him." 

These, of course, are extreme cases — not typical, e.xactl\-, of 
the almost legendary husbands who are very much in Holly- 
wood, but very little of it. Consider the Strange Case of ]Mr. 
Charles Bennett, who is known in Hollywood, much to his 
annoyance, as "the husband of Boots Mallory." 

\\'hen Boots married Charles Bennett a year or so ago in 
New York, Bennett was equally as well known along Broadway 
as his attractive little dancer-wife. He was a jazz band musician 
who alternated between conducting his own orchestras and mak- 
ing solo appearances with some of the finest bands in the 
country. But Boots would not come to Hollywood unless 
Charhe came with her, and, rather than see his wife lose out on 
an extraordinary opportunity for advancement in her work, he 
accompanied her to the Coast. Imagine his embarrassment to 
[Continued on page 80) 

53 



Wh 



ere 



You'll rind th 



Stars at Play 



SERIES NUMBER 8 

Yosemite National Park 
and Lake Arrowhead : 

where, in summer or winter, 
they can hold communion 
with good old Mother Na- 
ture, breathe tonic air, 
relax, or go in for sports 
and, maybe, romance 



Summer or winter, when stars really 
want to get away for a good rest, which 
usually means to get away from crowds, 
they go "back to Nature" — to such 
nearby beauty spots as Lake Arrowhead 
and Yosemite National Park. This story 
about these two resorts is the eighth 
in Motion Picture's series about 
"where you'll find the stars at play." 

—Editor. 



By 
Dorothy 

CAL H OUN 




Lippmnnn 



Ruth Hall, one of the 
1932 Baby Stars, goes 
up to Lake Arrow- 
head to toboggan. (P. 
S. And to reveal the 
latest sport togs.) In 
oval, Wynne Gibson 
and Cary Grant ex- 
ploring Lake Arrow- 
head trails in autumn 



When Warren 
William (left) 
goes moun- 
tain-climbing 
and skiing, he 
goes dressed 
for rough 
weather and 
rough spills. 
Far left, Ani- 
ta Page at the 
Lodge at Lake 
Arrowhead, 
one of her fa- 
vorite spots 
between pic- 
tures — in any 
season 



54 



Left, the Ah- 
wahnee Hotel 
in Yo Semite 
National Park, 
with Half 
Dome Moun- 
tain for its back 
drop. This is 
becoming a 
favorite honey- 
moon spot of 
the stars 



Below, the 
living room 
of the cottage 
on the 
Ahwahnee 
grounds at 
Yosemite in 
which Alan 
Crosland and 
Natalie Moor- 
head were 
married 




'HEN the first snow flies in 
the mountains, the public- 
ity boys in every studio 
have a brilliant idea and 

fare forth with cameramen and screen 

cuties dressed in the sort of winter sports 

costumes seen in the St. Moritz number 

of a musical comedy — fur caps, fur- 
topped boots, fur jackets and bare legs. 

The ensuing pictures of pretty girls being 

coy with snowmen, spilling becomingly 

into drifts and pelting each other with 

snowballs appear in due time in the roto- 
gravure sections of Eastern Sunday 

papers. And ever3bod>' — especially the 

publicity boys — is happy. 

In reaUty, however, the stouter souls 

of Hollywood, such as Warren \\illiam, 

set out for winter sports in all the hide- 

ousness of knitted toboggan caps, heavy 

army sweaters, old leather coats, woolen 

mittens and woolen knickers. These comfortable denizens of the 

sun hail the snows in the nearby mountain resorts as joyously as 

youngsters with new sleds. 




Above, Thelma Todd proves that she can 

make even a deer eat out of her hand. 

This all happened last autumn at 

Yosemite 



should be eaten, 
ing snowstorm. 



Such stars as Reginald 
Denny, Walter Huston, Warner 
Baxter, George Hill and the 
La Rocques (Vilma Banky), 
actually own ranch houses or 
cabins on theRim-of-the-World Drive 
or in the High Sierras, find them- 
selves suddenly popular, \^'hile the 
smart hotels, such as the Ahwahnee 
in the Yosemite and the Lodge at 
Lake Arrowhead, open their winter 
seasons, counting among their guests 
a generous sprinkling of famous movie 
noses, slightly reddened by the cold 
(which makes no distinction between 
the nose of a John Barr\'more and 
that of a plain John Smith). 

The first snowfall in the California 
mountains usually coincides with the 
Christmas holiday's, and to Eastern 
ej'es (and most of the picture people 
are Easterners) palm trees and rose 
gardens suddenly lose their appeal. 
Homesickness for snowdrifts, for ever- 
greens loaded with feathery white, 
and for sleigh bells sends the stars 
scurrying, with chains on their limou- 
sines, to the nearest spot where the 
temperature is below zero. The 
Arhsses ate their 1932 Christmas dinner "as Christmas dinners 
looking out of their hotel window onto a swirl- 
{Conlinucd on page 72) 




55 



"Mama, ^/^^r^ DoWampas 
BABY STARS Come From?" 

It's a question that little Fanette was bound to ask sooner or later of Mother Hollywood. 

And, perhaps, the tot is old enough now to be told. So here is an attempted explanation 

— which also answers the question: And Where Do Baby Stars GO.'' Some may become 

Joan Crawfords and Janet Gaynors — but what of the others.^ 

By DOROTHY MANNERS 




AFTER a complete cessation of prophecies in 1930, 
/\ and a very lukewarm bestowal of honors in 193 1 
r — % (no big banquet, no bows from the local stages, no 
-X> JL dance shindig at five dollars per ticket), the Wam- 
pas have broken out with a fresh batch of Baby Stars — if not 
bigger and better than ever, at least a larger and longer list. 
With ten years' experience in sighting interesting new star 
dust in the Hollywood 
heavens, the press- 
agent bo\'s now pre- 
dict future glory for 
such new twinklers as: 
Lona Andre (Para- 
mount), Lilian Bond 
(Free-lance), Mary 
Carlisle (M-G-M), 
June Clyde (Free- 
lance), Patricia Ellis 
(Warner Brothers), 
Ruth Hall ( Gold wyn), 
Eleanor Holm (First 
National), Evalyn 
Knapp (Free-lance), 
Dorothy Lay ton 
(Free-lance), Boots 
Mallory (Fox), Toshia 
Mori (Columbia), 
Ginger Rogers (Free- 
lance), Marion Shock- 
ley (Educational), 
Gloria Stuart (Uni- 
versal) and Dorothy 
Wilson (RKO). 

There are fifteen — 
the largest number in 
Baby Star history ; one 
each from each major 
studio, and five who 
are unattached. 
These, say the boys 
who are better known 
as the Wampas than 
as the Western Asso- 
ciation of Motion Pic- 
ture Advertisers, are 
likely to be your fu- 
ture Joan Crawfords, 
Norma Shearers, Jean 
Harlows, Marlene 
Dietrichs, Constance 



Dfjar 



Above, you see eight of the thirteen Baby Stars of 1928, when dresses were 

short and figures counted more than to-day. How many do you recognize? 

Left to right, they are: Gwen Lee, Molly O'Day, Sally Eilers, Sue Carol, 

June Collyer, Dorothy Gulliver, Alice Day and Audrey Ferris 




These are the Wampas Baby Stars of 1931. Seated, left to right: Anita 
Louise, Joan Marsh, Sidney Fox, Rochelle Hudson and Judith Wood. 
Kneeling, left to right, Joan Blondell, Constance Cummings, Frances 
Dade, Frances Dee, Karen Morley, Marion Shilling, Marian Marsh and 

Barbara Weeks 



Bennetts. Ruth Chattertons and, maybe, Greta Garbos. 
Though the names of several of the group may fall with un- 
familiar sound upon }our eardrums, the entire press-agent 
body of the studios assures you that, of all the new charmers 
to be found among the various lots, these are the most prom- 
ising! The fact that such ladies as Katharine Hepburn, 
Phyllis Barry, Tala Birell, Bette Davis and a few others of 

that ilk (commonly 
expected by critics and 
public to be stars very 
soon) are very much 
in circulation through- 
out the studios has, 
apparently, had little 
inlluence on the selec- 
tions of the Wampas. 

An Inevitable 
Question 

DO you wonder 
that little Fan- 
ette, the demon movie- 
goer, might well turn 
to Mama Hollywood 
with the question in 
her eyes, and the 
words on her lips: 
"Mama, where d o 
Wampas Baby Stars 
come from?" 

Even supposing 
that the child is too 
young to know about 
such professional 
Facts of Hollywood 
Life, let's look back 
over the ten years of 
Wampas Baby Star 
selections and try to 
explain to the kiddie, 
not only where the 
Little Ones came from, 
but also where many 
of them have gone! 

Although ^ two or 
three of the new Baby 
Stars have not yet 
actually been seen by 
the public, the oflicial 
announcement of the 



56 




And this is the latest — and largest — collection of Baby Stars, fifteen in all. Seated, left 
to right, June Clyde, Dorothy Wilson, Mary Carlisle, Lona Andre, Eleanor Holm and 
Dorothy Layton. Standing, left to right, Toshia Mori, Boots Mallory, Ruth Hall, Gloria 
Stuart, Patricia Ellis, Ginger Rogers, Lilian Bond, Evalyn Knapp and Marion Shockley. 

Is Fame ahead for all fifteen? 



Wampas assures us that all fifteen "have either been under 
.contract or in training for more than three months" — which, 
apparently, is one of the biggest requirements. Color of hair 
and ejes is not so important. Eight of the 1932 Baby Stars 
are blondes, si.x are brunettes, and one is a redhead. The sec- 
tion of the country where they were born is immaterial — since 
they come from such widely scattered places as Boston, New 
Orleans', Minneapolis, New York, Florida and California. 
Only four have gone to college; only a few have had stage 
experience. The j^oungest is sixteen; their average age is 
twenty-two. What, then, makes a newcomer a Baby Star? 
The official announcement sa3's: "Wampas members have 
relied on their personal knowledge of what constitutes the 
basic requirements of screen success — personality, beauty, 
youth and flexible talent." 

Over a period of ten years, exactly one hundred and thirty- 
two young actresses have been selected as Baby Stars. Out 
of that group, between thirty-five and forty have actually 
achieved either authentic stardom or have rated "featured" 
billing. Let's see — that gives the AVampas boys an average 
of being right about thirty-three and one-third per cent of the 
time. In other words, they have picked 'em one in three! 
They have called the turn on such winners as Joan Crawford, 
Janet Gaynor, Clarar Bow, Eleanor Boardman, Dolores Cos- 



tello, Dolores Del 
Rio, Lupe Velez, 
Mary Astor, Col- 
leen Moore, Sally 
Eilers, Helen 
Twelvetrees, Joan 
Blondell, and many 
others. 

They Discover 
"Discoveries" 



A ulTey 

When Janet Gaynor became a 
Baby Star, her days as an 
unknown were over. But if it 
hadn't been for a reporter pal, 
she might not have been elected! 



WHICH might 
be a staggering record if the bo\'s had recruited the 
Baby Stars off the corners of Hollywood streets or found them 
in high-school classrooms. But when you stop to remember 
that the boys were not put to so much trouble, and had the 
advantage of selecting the cream of the crop already scouted, 
if not actually under contract to the studios, it doesn't seem 
like such an amazing quota of good guesses. 

What, then, could enter into the selection of a Wampas 
Baby Star besides a good guess? 

It isn't fair to mention names, nor is it particularly impor- 
tant to the point of this little true story, as the girl has long 
{Continued on page 74) 



SI 



BULLFIGHTING 

It's an Old Spanish Custom, 
But a New Hollywood 

Craze! 




The Society for the Prevention of Cruelty to Animals insisted on 
watching the filming of the bullfighting scenes for "The Kid from 
Spain" — to make sure that no harm befell the bull. But Sidney Frank- 
lin, the matador who faced that bull, says Americans aren't horrified 
by these combats; they are interested in them. Anyway, every 
studio is planning a big bullfight picture! 



EIGHT 
years ago, 
that truly 
admirable 
institution, the So- 
ciety for the Pre- 
vention of Cruelty 
to Animals, de- 
manded a voice in 
picture-making 
by requiring 
Metro to allow 
a selected com- 
mittee of its 
members to 
supervise the 
making of the 
chariot-race 

.4 one 
©r/ie rimes 



Right, Ramon No- 

varro, as you will 

soon see him 





^ 



sequences in "Ben- 
Hur," in which sev- 
eral hundred horses 
were used. More 
recently, the same 
society has played 
the role of movie cen- 
sor by being on hand 
when the bull- 
fighting scenes in "The 
Kid from Spain" 
were made. And with 
several bullfight 
dramas now sched- 
uled, does this mean that the S. P. C. A. had bet- 
ter set up headquarters in Hollywood? 

To the Spanish and Latin-American enthusiasts, the 
American attitude toward bullfighting is difficult to 
understand. They cannot figure out how American 
humane societies can wax indignant at the imagined 
cruelties of the bull ring in other countries, and, at the 

same time, condone and indulge m- the cruelest of all 

sports, that of angling. 



Above, Eddie Cantor can't 
bear to face the bull in 
"The Kid from Spain" — 
which helped to start the 
bullfight craze 




By Fernando rondon 



Further, the Latin has difficulty in understanding 
the hesitancy of some Hollywood studios in portray- 
ing the activities of a corrida (bullfight) when they 
leap at the opportunity^ to reproduce human suffer- 
ing in its most excruciating moments. Writers, pro- 
ducers, actors, and all other dispensers of canned 
tears of humans, he believes, should be censured as 
soon as those who depict the discomfiture of brutes. 
There may be members of humane societies who do 
not approve the sufferings of an orphan as shown in 
"The Champ," or a man's mental agony in "Two 
Seconds," or "House of Pain" episodes of "The Is- 
land of Lost Souls," or the physical tortures of "The 
Mask of Fu Manchu" and "Wax Museum" — but 
they have not been heard from yet. Beasts may not 
seem to suffer on the screen — but men (and women) 
may. How come? 

Cruelty a Matter of Geography? 



S« 





WHAT makes the matter all 
the more confusing to the 
Latin is the fact that Americans 
display no hesitancy in lending their 
patronage to bullfights when they 
are away from their native shores. 
Ernest Hemingway's recent best- 
seller, "Death in the Afternoon," 
bought by Radio for picture pur- 
poses, illustrates the delight of 
American tourists in the most 
bloody events of the corrida. The 
author of this book, himself, hap- 
pens to be an ardent admirer of 
\'icente Barrera and Marcial La- 
landa, famous toreros. It would 
seem, then, that cruelty is a matter 
of geography. When Paramount 
filmed "Blood and Sand" with 
Rudolph \'alentino a few years ago 
there were no protests — because 
the bullfighting scenes were made 

Left, Sidney Franklin, America's 
only real matador — before he under- 
went plastic surgery to be a movie 
hero 



great movie mata- f 
dor — Valentino in 
"Blood and Sand." 
Above, a bullfight 
crowd in Seville 



in Mexico, where bullfighting is legal. 

But when these Mexican bulls crossed the 
American border, they found a society 
anxious to protect them — that is, unless 
they were bound for the slaughter house. 
When Eddie Cantor was filming "The Kid 
from Spain," a delegation of forty mercy- 
minded individuals proceeded to the studio 
to make sure that the imported bulls were 
assured of life, a certain amount of liberty, and the pursuit of 
happiness and whoever happened to be in the way. They 
served notice on Samuel Goldwyn that the bullfight scenes were 
to be made under their supervision. 

The animals were brought across the Mexican border from 
Piedras Negras, a famous farm devoted to the breeding of bulls 
for the ring. It was necessary to make this importation because 
not all male members of the bovine family are suitable for an 
appearance in the corrida. Sidney Franklin, the matador em- 
ployed especially for this occasion, insisted upon working with 
orthodox animals, not with slow-moving, bellowing lords of 
creamery herds. 

For this production a real bull ring was built on the studio 
lot, which, though not as large as the amphitheatres of Spain 
and Latin America, nevertheless was a huge set. In this was 
to be performed the first corrida in the Lnited States. 

On the day that the bullfight was to be filmed the bleachers 
of the arena were filled with a variety of spectators, not all of 
whom were paid "atmosphere." Many film notables were 
there to watch this unique _ Acme 

performance. Harold 
Lloyd, Douglas Fair- 
banks, and Samuel 
(Continued on page q~) A 



©The Times 




59 



Meet the J^ew 

Alice White ! 

She says, "I don't feel that I am staging a 'comeback' — I feel that a new girl has begun 

to work in pictures, from the bottom up. Her name just happens to be Alice White." 

And that gives you the tip-off that the hot-cha little girl who left Hollywood a year ago 

is now a different Alice — even to a brand-new nose! 



ALICE WHITE went away from 

/\ Hollywood some months ago to 
/— % make a tour of the country and 
jL. jL — that Alice White never 
came back. It's a brand-new Alice you 
are seeing to-day. 

With that bygone little Alice went 
the one-time hot-cha methods and 
mannerism s,the"Naughty 
Baby-isms," the Gentlemen- 
Prefer-Blondes line, the frivol- 
ity and what-not that caused 
starch-spined ladies to ele- 
vate their lorgnettes and 
threaten To Do Things 
About It. No, never again 
will your eyes behold the 
brief, blonde Alice (born 
Alva), posing in abbreviat- 
ed, black lace thingumbobs 
or shimmery shorts. That 
blonde and naughty-baby 
Alice has vanished forever. 

Gone, too, is the ladylike 
Alice, languidly posing, affect- 
ing airs and graces and the gentle 
sorrow of one who is misunderstood 
by a hard-boiled Hollywood. 1. he 
Alice who leaned head on hand and con- 
fided to you that she spent her free hours 
weeping and shrinking from the barbs and ar- 
rows of outrageous fortune. 

The old, restless Alice is gone, too. That fevered 
little filament of a girl who, somehow, seemed 
destined for tragedy — a little girl dancing in a 
huge, dark room, crying over the bumps and 
bruises . . . 

Weep no more, my ladies . . . park your 
lorgnettes . . . and let your upright, reform- 
bent souls relax . . . For now there is an Alice 
White who is a well-balanced, quiet-voiced 
young woman of twenty-two, with a 
matter-of-fact manner, a great deal of 
common sense, considerable poise 
and — a new nose. After you have 
talked with Alice for five minutes, 
you realize that the new nose is the 
least of the alterations. 

The one thing about this strange new 



60 




L L 



girl that bears any resemblance to the girl who went 

awaj' from Hollywood is — her heart. That eager and 

loyal little organ has remained in the same place. 

"Cy" Bartlett is still, and permanently, it 

would seem, her boy-friend, as well as 

her manager. She has been faithful 

to him, Cynara, after a fashion 

never supposed to be the late 

White way. 

She said, this blonde young 
stranger, wrapped richly in 
her voluminous mink coat, 
carrying a round little 
mink muff, "I never came 
back to Hollywood. Fun- 
ny, isn't it? There isn't 
any Alice White any 
more — not as people 
used to know her. I 
even toyed with the no- 
tion of acquiring a brand- 
new name, a Russian ac- 
cent and background, and 
arriving as the nezvcomer I 
am. 
"It would have been fairly 
easy. Cy and I went to the 
movies the other night. We met a 
boy I had once gone around with. 
Cy knew him, too, though not as well as 
I had. The three of us stood in the lobby, 
talking for twenty minutes or more. As we 
started to go into the theatre, this boy drew 
Cy back with him and said, 'Who is the girl 
you're with? You didn't introduce me.' 
Cy said, 'Why, Alice, of course — who else 
would it be?' And when I looked back, 
that boy was standing there, his mouth wide 
open, staring after us. 

"But it's not only my nose. That's the 
least part of it. And the nose was done, or, 
I should say, re-done, on the spur of the 
moment. There was nothing planned 
about it. Dr. Ginsberg is a friend x)f mine. 
I just happened to be in his office one day, 
and I was looking at the pictures of some 
girls I know, for whom he has made new- 
noses-for-old. I thought, suddenly, then 
{Continued on page 77) 




To make your skin and you lovely— try 
this 30-day treatment experts prescribe 



OLIVE OIL helps to avoid aging skin. Olive oil has a 
flattering way of putting youth into your skin, of 
keeping it there. 

That is exactly why over 20,000 beauty specialists advise 
Palmolive Soap — because Palmolive is the soap made with 
olive oil. They say the lather of this beauty soap puts youth's 
elasticity and firmness back into the skin. 

Do this for 30 days : night and morning, work up a fine, 
rich lather and give the pores of your whole body (not 
merely your face and throat) a deep, refreshing cleansing. 

There's a challenge to age, all right! Tingling vitality 
underneath and smooth, delicate, surface softness — a com- 
bination that makes your skin, and you, lovely, desirable! 



\\JUl^ iJkxJh SckxnA^i\t ©jm^aJ2c/;6«ahrv/ 




Actual photo- 
graph of the 
amount of 
olive oil that 
goes into 
each cake of 
Palmolive. 




61 




COdt. 




W^i/L 




f/^^^ will want to share the screen 
i/'''^^ stars' secret of winning— and 
holding— admiration! It is so vitally im- 
portant to a woman's happiness to know 
she is truly attractive. Read what the 
exquisitely lovely Claire Windsor has to 
say. She tells you how to have the most 
important feminine charm of all— and 
how to keep it in spite of birthdays. 




jtlere's one secret 
jou JyiUST know 

CLAIRE WINDSOR rep/ies 



"T WANT your advice," thousands 
JL of women write to Claire Wind- 
sor. "How can I become truly attrac- 
tive? How can I win admiration — 
and how can I hold it?" 

"You can be attractive at any age. 
Birthdays haven't a thing to do with 
it," Claire Windsor replies. "Pro- 
vided, of course, you are careful to 
guard complexion beauty! 

"A fresh, youthful skin is quite 
the most compelling charm a woman 
can have . . . Screen and stage stars 
know the secret — and keep this 
youthful charm right through the 
years." 

Claire Windsor, like so many other 
fascinating stars, actually grows 
lovelier as years pass by! 



62 



How does this charming star keep 
her skin so glamorous? 

"I use a very simple care, but I 
use it regularly," she says. "Lux 
Toilet Soap keeps my skin in won- 
derful condition." 

Have YOU tried the 
Beauty Soap of the Stars? 

Holljrwood's beautiful stars have 
found fragrant, white Lux Toilet 



Soap the very finest complexion 
care. Of the 694 important actresses, 
including all stars, 686 use this lux- 
urious soap regularly . This over- 
whelming verdict has made it the 
official soap in all the big film 
studios. 

Naturally you will want to try it. 
Buy a few cakes today, use it regu- 
larly. The beauty soap of the stars 
is sure to make your skin glamor- 
ously smooth and fine! 



g out of 10 Screen Stars use 

Lux Toilet Soap 




9 



ff 




women write tnis 
lamous star 

CLAIRE WINDSOR 

'I'his fascinating screen star declares any 
woman can win admiration— and hold it, 
too— if she knows how! "A fresh, youthful 
skin is quite the most compelling charm 
a woman can have," she says. 









63 




By Robert Fender 



The NEW 

BUDDY 

Wants a 

''New Dear 



Buddy Rogers has been off the screen a year, but he 
hasn't become "the forgotten star." Studios are eager 
to sign him up. Buddy, however, has grown up, grown 
independent, and grown particular. He doesn't want 
any more of "that young-boy stuff." As he says, "I'm 
nearly thirty, look it, and feel it." And if he doesn't 
get the roles he wants, back to New York he'll go with 

his band! 



A FTER a year away from Holl5rwood, Buddy Rogers 

/\ is back. And what has this year in New York done 

r — % to him? How has he changed? 
-A^ A^ He wasn't the most popular guy in the world when 
he left Hollywood, this Buddy Rogers. The town didn't have a 
passion for Buddy, and he wasn't overly fond of the town. 

I saw him up at Del Monte when he stopped for a round of 
golf on his way to the Stanford-U. S. C. game a year ago. He 
was just on his way East then. He had signed with Ziegfeld to 
appear in "Hot-Cha," had 
arranged to lead an orches- 
tra at the Hotel Pennsyl- 
vania, and was all dated up 
to make radio broadcasts, 
at a neat aggregate each 
week. 

"I'm delighted to get 
out," he said. "It's going to 
be a swell experience. Got 
my band all lined up and 
everything." 

"Coming back to Holly- 
wood some day?" I asked. 

"Not unless they change 
my pictures," answered 
Buddy firmly. "They're kill- 
ing me as fast as they can 
with milk-toast roles. I'm 
going East to save the 
pieces." 

Hollywood had several 
charges against Buddy when 
he shipped for the East. 
"Too pretty," it said. "Too 

64 




fond of clothes and sixteen-cylindered motors and open-throated 
portraits. Too 'Darling of the Debs.' Too — Buddy!" 

Buddy knew all this, but kept right on with it. He was fond 
of clothes, and saw no reason for hiding this fondness. If he 
wanted to wear an overcoat that a horse would envy, that was 
his affair. He did like fast cars, and if his pubhcity man saw fit 
to ballyhoo him as the young lover, he complied with his wishes. 
.\fler all, press-agentry wasn't his line. He was simply a hired 
man and was wiUing to take orders. If those orders meant being 

Buddy Rogers, it wasn't 
his business to kick — 
not ■while he was in films. 
Buddy played the game 
in Hollywood, the Hol- 
lywood that made him 
rich for playing it. He 
^« was the wide-eyed kid 

- ? who was alwaj's in- 

genuously asking ad- 
-. vice. 






Pride Brought 
Him Back 




B' 



V^ 



I ^ 

Here are Buddy Rogers and his California Cavaliers. He says: "I've 
got my band, niy radio %vork and personal appearances, and the execu- 
tives out this way don't bother me any more. But I want to make a 
good picture, one good picture before I quit the game" 



I UT when the show 
was over and he 
was headed East, Bud- 
dy told a few of us why 
it couldn't go on. He 
was a little" smarter 
than those trying to 
guide his destinies. If 
Hollywood thought he 

{Continued on 
page 92) 



YEARS ALOME DO MOT 
DATE YOUR FACE . . . 



but Dky Skin does 




• "Even Tvith your mask on, I knew you," he cried. Vu„r lovely complexion gave you 
away!" Only when the oil glands are functioning actively can you hope to keep the skin that 
thrills the touch— the skin of velvety texture, luscious freshness, firm, unlined contours! 



New ingredient in Woodbury's 
Cold Cream supplies vital element 
that keeps your skin supple, lus- 
cious, young. 

Few are the women in America today 
between sixteen and sixty years who 
do not have to combat skin dryness. 
Nearly every influence of our hurried 
civihzation contributes to the drying 
up of the oil glands that lie close 
under the skin. And yet the energetic 
fvinctioning of these little glands is the 
one essential to skin youth. If they 
slow up, become inactive, the skin 
grows old, fades. 

Now Woodbury's skin specialists have 
developed a new element, which keeps 
the little oil glands always active, func- 
tioning normally. This new Element 
576, never before used in anyface cream, 
now comes in Woodbury's famous Cold 
Cream. 

The principle of this ingredient is the 
same as that of the vitamins which 
come to your body in certain of the 
foods you eat. Now this principle acts 
directly on your skin. With the new 
Element 576, Woodbury's Cold Cream 



penetrates your skin, vitalizes it, 
rouses it to vigorous, healthy action. 

Now your use of Woodbury's Cold 
Cream proves doubly effective. It 
clears the pores more effectually of 
dirt, frees them of blackheads and 
blemishes. More than these, it rouses 
the sluggish oil glands to greater ac- 
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mature skin age. 

Begin today to use Woodbury's Cold 
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At all drug and department stores. 




OTHER WOODBURY BEAUTY AIDS 

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WOODBURY'S TISSUE CREAM .. .a high 
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ished tissues of face and throat, for extreme 
dryness, wrinkles, lines. 50(f ajar. 

WOODBURY'S FACIAL FRESHENER. .. a 

refreshing liauid to remove excess cream, 
refine texture, tone up skin. 75f^ a bottle. 

WOODBURY'S FACIAL POWDER ... ex- 
quisite in perfume, fine in texture — carefully 
blended shades. Spreads evenly, stays on, 
does not clog pores. SOjf and $ 1 .00 the box. 

TT'RJ^'F S A-lVrPLE Use this coupon now for a 
trial tube of Woodbury'a 
Cold Cream free — enough for several treatments. Or send 10 
cents (to partly cover cost of mailing) and receive cbarminf 
week-end kit containing generous samples of Woodbury's 
Creams, new Face Powder and Facial Soap. 

John H. Woodbury, Inc. .6327 Alfred St., Cincinnati, O. 
In Canada, John H. Woodbury, Ltd., Pertli. Ontario 



^ddresi^ 



© 193), John H. Woodbury, Inc. 
MORTON DOWNEY— DONALD NOVIS — and LEON 
BELASCO and bis Orchestra — on Woodbury's new radio 
program over station WJZ and N. B. C. network every 
Wednesda7 evening at 9:30 E. S. T, 



65 



The Picture Parade 

REVIEWS OF THE NEWEST PICTURES 







THE ANIMAL KINGDOM 

Grand ETitertninment In Every W av: This 
beautifull\'-vvrought story and perfect per- 
formance by the entire cast will give you 
an hour of pure delight if you enjoy 
quality. And who doesn't? Outwardly, 
nothing much happens to the young 
publisher of fine books, played with 
simplicity and clarity by Leslie Howard; 
his former mistress, richly portrayed by 
Ann Harding, and his present wife which 
is the best characterization Myrna Loy 
has ever done. 

But there is tremendous elemental 
drama in the unseen clash of personalities, 
the silent battle of minds, the contest 
between the spiritual and ph\'sical appeal 
of the two women w hich makes the >oung 
publisher's final cryptic remark, "I'm 
going — to my wife" quite clear. William 
Gargan, as the butler who is more of a pal 
than a servant, does fine work, and the 
direction is leisurel)' and fastidious. It's 
grand entertainment, any way you look 
at it. 




A FAREWELL TO ARMS 

Aloving and Sensitive — Beaiitifiillv Done! 
The late war had its sexy side, as Helen 
Hayes, in the role of the war nurse, and 
Gary Cooper, as the ambulance driver, 
prove beyond the shadow of a doubt a 
dozen times in this well-directed, well- 
adapted and splendidly-acted picture. 
Seldom ha\'e we seen scenes in which the 
biological urge is represented so faithfulK-, 
and yet the picture ne\er quite steps 
be>'ond good taste, though one expects 
(hopefully) that it is going to at any 
moment. 

Helen Hayes /.^ the gallant, disillusioned 
and gay little nurse who pa>s the supreme 
price of stolen hours of love, gasping, "1 — 
am a — bra\e — girl" at the end. Gary 
Cooper has ne\er done better work than 
he does in the latter scenes, but his am- 
bulance driver is a bit refined and cleaned 
up for a Hemingway hero. An escape 
sctjuence, treated in the arty manner, 
is eftectixe. Not to be missed, no matter 
how much the Depression has hit you. 





^^^^ ^^**" ■• ■ "^ 


vl '^-^^ 



FRISCO JENNY 

Chatterton Makes It Worth Seeing: The 
.San Francisco earthquake shook the hero- 
ine out of a life of ease into another world. 
Her father and her fiance killed b>- the 
shock — a somewhat movie-made, though 
spectacular cataclysm — Jenny is faced 
with the realization that she is responsible 
for another life besides her own. When 
her child is born she places him with a 
family to be brought up and turns to the 
only method of earning a living for herself 
and him that she can find. 

The scenario writer evidently felt that 
mother-love justifies the transformation 
of the heroine into "Frisco Jenny," famous 
woman of the underworld, who traffics in 
vice, and secretly weeps over a growing 
scrap-book of her son's doings. The end- 
ing is "Madame X" with variations, and 
is brutally heartrending. Despite the 
quaint clothes of the early century and 
the new background, the heroine is un- 
deniably the cultured JVIiss Chatterton, 
worth both your time and money. 




NO MAN OF HER 0\^ N 

Gable and Lomlinrd Put It Over: The virile 
Mr. Gable, loaned as a foil for the blonde 
Miss Lombard, swaggers through this 
story of a big-town gambler who carelessly 
wins a small-town girl, his dimples in 
evidence practically all the time. The 
story follows routine paths in which 
Gable and his pals mulct suckers at cards 
■in expensive metropolitan surroundings, 
and the heroine appears in a new and 
gorgeous gown in ever>' scene. 

The denouement, in which the hero, 
voluntarily, has himself sent to Black- 
well's Island to expiate his past misdeeds 
in preparation — one supposes — for a moral 
life in the future, is a bit far-fetched, but 
deft handling and smart dialogue ease one 
over improbabilities. With the excellent 
Grant Mitchell furnishing a laugh, now 
and then, and the ornamental Clark and 
Carole furnishing the romance, what more 
can any fan desire? And, too, there's 
Dorothy Mackaill, who' almost steals the 
picture. 



66 




e:mployees' entrance 

Sliould Make A Hit Evervivhere: The 
romances, rix'alries and politics of a great 
department store form the background for 
this pleasant story in which Warren Wil- 
liam, as the manager of the store, plays 
dens ex machind to clerks, models, and 
floorwalkers. 

Committed to the policy that senti- 
ment is out of place in business, the ruth- 
less manager discharges old employees, 
tries to pre\"ent one of the models (Loretta 
Young) from marrying and connives to 
ha\e another njodel, peppily and very 
cleverly pla\ed by Alice White, \amp a 
crusty old trustee of the store into yielding 
to his policies. 

How he discovers the dollars-and-cents 
value of sentiment the picture tells with- 
out any especial surprises or plot twists. 
Alice White's performance is very good — 
there is a definite place for her on the 
screen. - It's entertaining and should 
make a hit everywhere — especially in the 
Alice White precincts. 

{More Reviezi's on page 6<S) 




THE MUMMY 

KarlofJ In Something Different: As usual 
Boris KarlolT's abilities as an actor are 
somewhat concealed under putty and false 
skin. The scenario writer, searching for 
horrors, has presented him to us as the 
mummy of an ancient Egyptian priest 
who found death centuries ago after im- 
piously daring to love a temple virgin. 
.Restored to life when a young Egyptolo- 
gist happens to read aloud the magic 
formula from the newly excavated Scroll 
of Truth, the mummy takes up his life and 
love where death cut it short centuries 
ago. while the young scientist goes mad 
at the transformation — a difficult scene 
very effectively portrayed by Brannvell 
Fletcher. 

The tempo of the picture is that of the 
blood-and-thunder serials of an earh- 
movie day, with the rescuers arri\ing 
just as the reincarnated priestess (Zita 
Johann) is about to be claimed by an in- 
credibly-shrivelled Karlofif. Weird, and 
di^erent bat a trifle too fantastic. 



re-designed to end revealing 
outlines without sacrificing 
needed protection 



the new 

Phantom 
Kotex 



SANITARY NAPKIN 
<U. S. Pat. No. 1,857,854) 



A NEW KOTEX ... a self-concealing Kotex 
. . . re-designed to conform perfectly with 
the demands of the closest-fitting dress . . . 
yet . . . (and this is so important to you) 
every bit of thickness, of needed protection, 
is retained. This New Phantom Kotex, so 
skilfully constructed, contains identically 
the same layers of filler, hut you don't realize 
it! Because the ends are flattened and 
shaped, you are scarcely aware of the pres- 
ence of protection. 

Do not be confused. Other sanitary pads 
calling themselves form -fitting are in no 
sense the same as the New Phantom Kotex, 
U. S. Patent No. 1,857,854. 

Softness . . . safety -plus! 
That wonderful absorbency . . . that softness 
. . . that delicacy so characteristic of Kotex 
are exactly the same in the New Phantom 
Kotex. It gives you supreme safety. Dis- 
posable, of course. Hospitals alone last 
year used more than 24 million Kotex pads. 

This improved Kotex is brought you at 
no increase in price. Never in its history 
has Kotex cost you so little. Make sure, 
when buying Kotex wrapped, that you get 
the genuine. For your protection, each 
tapered end of the New Phantom* Kotex 
is plainly stamped "Kotex." On sale at all 
drug, dry goods, and department stores. 
Also in vending cabinets through the West 
Disinfecting Company. 

Kotex Company, Chicago. 



Note ! Phantom Kotex has the same thickness, 

the same protective area with the added advarf 

tage of tapered ends. 





lo ease 

the task of 

enlightenment 

This message is sent to 
parents and guardians, 
in a spirit of con- 
structive helpfulness. 

THIS year — some five 
million young girls be- 
tween the ages of 10 and 14 
vrill face one of the most try- 
ing situations in all the years 
of 5'oung womanhood. 

This year — some five mil- 
lion mothers will face the 
most difficult taskof mother- 
hood. 

Thousands of these moth- 
ers will sit down in quiet 
rooms, and from that in- 
timacy so characteristic of 
today' s motheranddaughter, 
there will result that un- 
derstanding so vital to the 
daughter of today, the wife 
and mother of tomorrow. 

There will be other thou- 
sands of mothers, coura- 
geous, intimate in all things 
but this. There will be thou- 
sands too timid to meet this 
problem — and it will pass — 
but with what possible un- 
happiness . . . what heart- 
breaking experience. 

To free this task of en- 
lightenment from the slight- 
est embarrassment, the 
Kotex Company has had 
prepared an intimate little 
chat between mother and 
daughter. It is called "Mar- 
jorie May's Twelfth Birth- 
day." 

In this book, the subject 
has been coveredcompletely 
... in simple, understand- 
able form. It is accompanied 
by a simple plan affording 
the child complete privacy. 

To secure a copy ^without 
cost or slightest obligation 
parents or guardians may fill 
in and mail the coupon belonv. 
It nuill come to you in a plain 
en-velope. 



Mary Pauline CaUendcr 
c/o Kotex Company. Room 2175A, 
ISO N. Michigan Avenue, Cbicafo, III. 
Please send me copy of Marjorie 
May's Twelfth Birthday." 



Signed . 



Street 

City.. 



State 

Copyright 1933. Kotex Company 



67 



The Picture Parade 

REVIEWS OF THE NEWEST PICTURES 

{Continued from page 66) 




HANDLE WITH CARE 

Sentimental Romance — for Youngsters: 
This picture should please average fans, 
though they won't be seeing anything out 
of the ordinary. It is a question whether 
any amount of re-making can do much for 
the trite story of New York tenement life. 
Too much responsibility is laid on the 
small shoulders of Buster Phelps as the 
nephew of the department store nursery 
entertainer (Boots Mallory), who's in love 
with the assistant district attorney, 
who's an enemy of gangsters. 

Jimmy Dunn has little to do except look 
amiable (he is growing stout, by the way) 
and El Brendel, excellent comedian that 
he is, cannot be funny with the ancient 
wheezes and gags allotted to him, as the 
slum music teacher. 

Whenever the picture showed signs of 
dying on its feet a nightmare sequence, a 
chase or a thrill has been inserted to save 
it. Boots is young and cute, and with 
careful direction should go places. 




MADAME BUTTERFLY 

Charming — You'll Love It: Another all- 
Occidental cast in an all-Oriental setting. 
Adhesive tape that slants -Sylvia Sidney's 
eyes does not quite transform her into the 
incredibly innocent little Japanese wife 
who waits trustingly for her naval officer- 
husband to return to her " when the robins 
nest again." However, once you stop 
thinking about the tape. Miss Sidney's 
performance is quaint and touching. 

The technical difficulties of language are 
cleverly surmounted, and the settings are 
nahe and charming. Cary Grant looks 
the part of the handsome na\y man, play- 
ing a delightful love game without too 
much seriousness, but it is to be hoped 
that the scene in which he drones an inane 
blues song about "My Flower of Old 
Japan" while trying to a\oid his Flower's 
towering hair structure, will be eliminated. 
In all a decorative and charming picture 
which ends, like the opera, on a tragic 
note. 



THE PARACHUTE JUMPER 

Plenty of Punch. Not a Dull Moment: 
Done in the light-hearted manner so be- 
coming to Douglas Fairbanks, Jr., this 
fast-moving tale of two navy fliers dis- 
charged from the ser\ice for joy-riding 
with government planes is filled with ex- 
citement from first to last. The dialogue 
is as snappy as modern youth. 

The action varies from stunt flying and 
dope-running across the Mexican border, 
to air fighting between gangster planes and 
border patrols. Through it all Doug is 
equal to all emergencies and the scenes 
with his pal, Frank McHugh, and his girl 
(Bette Davis) are extremely amusing. 
Hired as a chauffeur on the strength of 
his profile, the hero finds himself an unwill- 
ing participant in the schemes of dope 
smugglers. 

How he escapes from their clutches, the 
story reveals with several authentic thrills 
and with Doug living up to the title. 
Not a dull moment. 




THE WAX MUSEUM 

Thrilling All the JTay. Dont Miss It: 

This picture, done in color, tops the hor- 
rors of the year. It is so well-conceived, 
mounted and acted that its horrors be- 
come plausible. Grown-ups, as well as 
children, will have their dreams filled with 
hideously mutilated faces, seared claws of 
hands, and stark staring figures for a long 
while after seeing Lionel Atwill's immobile, 
wax face which he makes, as the maddened 
artist, to cover his own fire-distorted fea- 
tures. 

The interior of a wax works museum is 
not only a novel locale for a picture, but 
one ideally fitted for the use of Technicolor, 
which adds much beauty and life to the 
scenes. It wou'd be unfair to take away 
any of your thrills by touching on the 
story, which is enacted only too well for 
your peace of mind. See it by all means — 
but don't take the kids. 

This makes two horror hits for Atwill 
— his first having been "Doctor X." 




NO OTHER WOMAN 

Well Worth Seeing. Finely Acted: When 
one sees Charles Bickford's artless grin on 
the screen, one knows he is a strong, simple 
man who will stray from the straight-and- 
narrow way but will return to it. When one 
sees Irene Dunne, one foresees that she 
will be a loving and neglected wife who 
will triumph ov'er the Other Woman in 
the end. 

It is so in this story of the steel mill 
worker whose wife's ambition lifts them 
out of the grimy workingman's cottage 
into wealth, only to leave them at the end 
where they started. Amid little suspense, 
these two good players make the husband 
and wife true human beings whose expe- 
riences are vitally enthralling. An ugly 
trial scene sounds a new note in the eternal 
triangle. Gwili Andre's hold over the hus- 
band is a trifle difficult to sympathize 
with. Well worth seeing. 

It isn't as melodramatic as most Bick- 
ford pictures — and is more life-like. 




THE ISLAND OF LOST SOULS 

Thriller Is Too Fantastic: There comes a 
time when fantasy becomes too fantastic. 
If this picture of the mad doctor who con- 
verts animals into the semblance of human 
beings, according to their natures, doesn't 
come under this criticism, it is close to the 
border line between astonishment and 
absurdity. The early scenes do not build 
up enough suspense and expectation, and 
the onlooker finds it hard to get into the 
spirit of things immediately. 

Charles Laughton is, of course, excellent 
as the suave and sinister doctor, all other 
members of the cast having rubber stamp 
parts except the prize-winning Panther 
Woman, who, we thought, was wild and 
shy and charming in her strange role. The 
make-up man ran amuck with the droves 
of hideous, half-human creatures who 
snarl and gibber at the mention of the 
House of Pain where they were created. 
Their revenge on their creator is quite too 
horrible. Richard Arlen is the hero. 




^•l 




^mtmatL 




After one dance they pass her np. 



They forget that rose-petal skin. 



those dreamy eyes, her agreeable 



manner, her grace on the dance 



floor. ..She has ^^IT," all right 



^but not what you thinh! 



HOW can this beautiful girl, with 
breeding and sweetness, ruin 
her great charm by this undesirable 
"it" . . . perspiration odor from lin- 
gerie that isn't scrupulously fresh. 

Of course, she doesn't realize that 
she's offending. Perhaps she thinks 
she doesn't perspire. But we all do, 
even though we don't jeel sticky. 
Frequently over a quart a day, doc- 
tors say. 

Underthings are always absorbing 
this perspiration, and the odor is 
bound to cling. Others notice it, even 



when we aren't aware of 
it ourselves. Second-day 
underthings are never safe. 

Fastidious women don't risk of- 
fending in this way. They Lux under- 
things after every wearing . . . it's so 
quick and easy! 

Lux is made to take out perspira- 
tion completely and safely. It re- 
moves all odor, and saves color, pro- 
tects delicate fabrics. 

As everybody knows, perspiration 
contains substances harmful to silk. 
By Luxing underthings — stockings. 



MILLIONS 
of ■women find 
Lux in the dish- 
pan the -world's 
most i nexpen- 
sive beauty care 
for hands. Costs 
less than Ic a day ■ 




for imdeithings 



too — after each wearing, you keep 
them new longer. This dainty habit 
takes only 4 minutes! 

AVOID OFFENDING 

Underthings absorb perspiration 
odor. Protect daintiness this tvay 

Wash after each tvearing. One table- 
spoon of Lux does one day's undies . . . 
stockings, too! Use lukewarm water — 
Lux dissolves instantly in it. Squeeze suds 
through fabric, rinse twice. 

Avoid ordinary soaps — cakes, powders, 
chips. These often contain harmful alkali 
which weakens threads, fades color. Lux 
has no harmful alkali. Anything safe in 
water alone is safe in Lux. 




69 



Seeing "4^2''^ Street" through Hollywood's Eyes 

{Continued from page 41) 




actors, when accosted, would nevertheless attempt to 
belittle their emotional attraction to old haunts. "Just 
getting the feel of a stage again," they would explain, 
half-shamefacedly. 

l.ightniri' s Son the Director 

DIRECTOR Lloyd Bacon certainly did not lack tech- 
nical advisers on behind-the-scenes procedure. Not 
that he needed advice, for his own training served him in 
good stead. The son of the late beloved Frank Bacon of 
"Lightnin'" fame, Lloyd was raised in the theatre. 
Then, too, every member of the large cast has had stage 
experience. 

Warners originally announced that the production of 
"42nd Street ' ' 
would feature an 
all-star cast com- 
prising Warren Wil- 
liam, Kay Francis, 
Joan B londell, 
George Brent, 
Ruby Keeler, Dick 
Powell, Guy Kib- 
bee, Glenda Farrell 
and Frank Mc- 
Hugh. Conflicting 
schedules, however, 
compelled five sub- 
stitutions among 
the nine principals 
named. Warner 
Baxter was bor- 
rowed from Fox to 
replace Warren 
William as the 
hard-boiled stage 
director, a r61e that 
Baxter once played 
in real life. Some 
years ago, while he 
was acting in a Dal- 
las, Texas, stock 
company, the ill- 
ness of a director 
forced Baxter to 
assume the direc- 
torial duties. For 
several months, he 
staged a new show 
each week. 

Bebe Daniels was 
called for the prima 
donna part that 
Kay Francis could 
not accept (since 
she was playing in 
"Cynara") and 
Ginger Rogers was 
given the smart- 
cracking chorus girl 
role intended for 
Joan Blondell. Una 
Merkel substituted 
for Glenda Farrell 
and Allen Jenkins 
for Frank McHugh. 
Jenkins, whom you 
remember as the in- 
timidated gangster 
in "Blessed Event," 
drew the assistant 
stage manager as- 
signment and 
smiled. He stepped 
out of just such a 
job a few years ago 
to become an actor. 

While the leads 
for "42nd Street" 
were being shuffled 
about, the search 
for beautiful chorus 
girls began. More 
than four hundred 
-were needed for 



brief appearances, 
and from these four 
hundred, one hun- 
dred dancers would 
be chosen. A spe- 
cial photographic 
crew headed by 
Maxwell Arnow, 
executive casting 
director, toured the 
Pacific coast from 
San Francisco to 
Coronado and a 
second crew visited 
bathing resorts on 
the Atlantic coast 
from Maine to 
Florida. That their 
search was not in 
vain is attested by 
the fact that twelve 
girls were given 
long-term Warner 
contracts as the re- 
sult of their work 
in the picture. 

How Chorus 

Girls Are 

Chosen 

BUSBY BERKE- 
LEY, who has 
created and staged 
the dances not 
only for "42nd 
Street," but for all 
of the Eddie Can- 
tor pictures and 
"Flying High," as 
wellassome twenty- 
odd Broadway mu- 
sicals, estimates 
that he interviewed 
niorethanfive 
M . ^^^1^ thousand girls be- 

■|A ^^ . ^^J^Bh fore making a final 
^H| ^Im ^II^^^^H choice. The man- 
^^B ^M J^^^^^H ^^^ '^^ selection is 
Tm. ^^^^^^^^^1 interesting. 

^^E^^^^^^ -pj^g thousands 

were reduced to as 
man\- hundreds 
upon facial beauty 
alone. From five 
hundred pretty 
faces, Berkeley con- 
centrated upon 
pretty ankles and 
selected three hun- 
dred. This group 
he arranged accord- 
ing to height. Then 
he went along the 
line and picked out 
one hundred of the 
prettiest sets of 
knees. The girl 
with homely knees 
did not stand a 
chance. You will see an identical procedure on a smaller 
scale in the picture itself, with Warner Baxter enacting 
the part that Berkeley actually played. 

The opening sequence of "42nd Street," as a matter 
of fact, is a duplication of the spectacle that Hollywood 
witnessed when the production was first announced. 
"Jones and Barry are doing a show" is the report that, 
on the screen, is whispered by chorus girls from the 
Battery to the Bronx. "Warners are doing a musical" 
was the Hollywood counterpart that brought thousands 
of dancing darlings to the studio gates. 

With the signing of Julian (Warner Baxter) to stage 
"Pretty Lady," the Jones and Barry show, and Dorothy 
Brock (Bebe Daniels) to sing the lead, the screen story 
{Continued on page 82) 



70 



CALENDAR FEAR 

THE FEAR THAT ACTS LIKE A POISON ON HEALTH AND BEAUTY 




IOOK back on your own marital ex- 
-J perience, or drop into your doctor's 
office, and you will soon learn that 
"calendar fear" often acts on the 
feminine system like a poison. 

If you don't know, a doctor will tell you 
that FEAR alone can upset the delicate 
feminine mechanism , . . fear alone 
can magnify a minor feminine irregularity 
until it seems like a physical crisis . . . 
fear alone can, and does, upset a 
woman's nerves until her very health 
is menaced. 

Yet how easy it is to banish this fear! . . . 
How simple to replace the failings of 
questionable feminine antisepsis with 
the blessings of approved marriage hygi- 
ene! How wise to follow the authoritative 
advice of the world's great physicians, 
hospitals and clinics! . . . For over forty 
years they have recommended to wom- 
ankind the regular and unfailing use of 
"Lysol" for complete feminine antisepsis 
and cleanliness. 

The gentle, soothing results secured by 
"Lysol" cannot be approached by certain 
chlorine-type antiseptics. They release 



free caustic alkali which sears delicate 
membranes and deadens live, sensitive 
tissues. 

The dependable effectiveness secured by 
"Lysol" cannot be approached by cer- 
tain chlorine compounds. They lose 95% 
of their power to destroy germ-life when 
in active contact with organic matter . . . 
"Lysol" under such practical conditions 
maintains its potency. 





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71 



Where You'll Find the Stars at Play 



{Continued from page 55) 



Where Elissa Writes in Peace 

YOSEMITE National Park lies within a 
day's driving distance of Hollywood. 
It has been "discovered" by a coterie of 
stars who have a taste for Mother Nature, 
rather than human nature. There, when 
late autumn filled the deep bowl of the 
valley with lazy sunshine and crimson 
leaves, Elissa Landi sat on the loggia of the 
Ahwahnee, writing the last chapters of her 
fourth novel, safe from the distractions of 
the screen colony. She drove her high- 
geared roadster herself, across the Moja\e 
Desert and up the winding mountain roads 
of the three-hundred-mile trip, with her 
secretary as passenger. Every day, after 
her work, the two of them set out for a 
canter across the \alley floor up the steep 
trail to Glacier Point on the very rim, where 
they could look straight down a mile to the 
winding river and the autumn-colored 
trees. 

While Elissa was in the Yosemite, a dear 
friend of hers committed suicide. "But 
surely if he had known this place," Elissa 
said, "he would never have wanted to leave 
the world." 

Winter is the time when Dorothy Mac- 
kaill and her singer-husband, Neil Miller, 
visit the Valley. Being English, Dorothy 
doesn't object to cold and by perse\erance 
has perfected her stance on snowshoes, ski is 
and skates. The Millers are speed fiends on 
the ice-lined toboggan slides, and adepts 
at driving Eskimo dog teams, kept in real 
igloos, across the level X'alley trails. 

For the New Year's holiday this year, 
William Powell and Carole Lombard took 
part in the traditional Ahwahnee celebra- 
tion of Earth's Birthday Party. Paul and 
Daisy Lukas were there, too, and Joan 
Bennett with her new husband. Gene 
Markey, and her baby daughter, "who 
isn't going to grow up without knowing 
what snow is," Joan declares. 

Bennett an Amateur Explorer 

PAPA Richard Bennett, however, pre- 
fers the Yosemite in summer. Last July 
he and his wife, with saddle train, a cook 
and a guide, went off on a ten-day pack 
trip into the High Sierras beyond the 
Valley, exploring glaciers, peaks and can- 
yons that few tourists ever see. 

Some of the most recent movie visitors 
have been Buster Keaton, Lew Cody and a 
gay party of guests cruising in Buster's 
land yacht. His enormous hotel-on-wheels 
climbed the twisting, almost perpendicular 
mountain trail to Glacier Point without 
trouble, with Buster in the uniform of an 
admiral, striking a majestic attitude on the 
rear platform! 

Snow is only one attraction of the 
Yosemite to motion picture people. It also 
offers seclusion, uninfested with the bane of 
all stars — reporters. During his contract 
quarrel with Warner Brothers, James Cag- 
ney disappeared. Rumors had him on his 
way to England, bound for the South Seas, 
headed toward a medical college, while 
Jimmy was really enjoying himself, for part 
of the time, in "Nature's own sanctuary." 
This same seclusion makes the Yosemite 
and the Ahwahnee favorite spots for honey- 
moons. The Alan Croslands (Natalie 
Moorhead) were married at Yosemite 
Lodge. And thither went Bette Davis with 
her new husband, Harmon O. Nelson, Jr., 
and Kay Francis and Kenneth MacKenna, 
on their respective wedding trips. 

The Yosemite is full of memories for 
movie people. Perhaps that is why Grace 
Tibbett returns there so often. Once it was 
Grace and Lawrence who came, while 



Right, Richard Arlen, 
Robert Riskin, and 
Zeppo Marx relax in 
the lounge of Arrow- 
head Lodge after a 
day of skiing on the 
slopes above Lake 
Arrowhead where 
they spent the holi- 
days. Below, for con- 
trast, you see Lilian 
Bond relaxing at Lake 
Arrowhead in the 
good old summertime 




wide Worm 




Lawrence let loose that gorgeous voice of 
his among the great cliffs, drowning the 
waterfalls at \ illage "get togethers," while 
the three hundred "natives" listened awe- 
struck. 

Even Garbo Had to Obey Rules 

OF course. Garbo, the lover of seclusion, 
has been to the \ osemite — and almost 
escaped discovery, in her small cheap tourist 
cabin in Camp Curry among the \acation- 
ing clerks and students and families. But 
she attracted attention when she demanded 
that they allow her to break the Yosemite's 
iron-clad rule of "no riding alone." 

Taking her favorite mount, "Stella," she 
packed a lunch, and riding an English side- 
saddle, set out for Glacier Point, refusing 
all guides. After she had gone, the camp was 
roused to hunt for her. She was "lost" for 
hours. Then hotel employees found her 
serenely lunching on the very tip of Glacier 
Point — from which the "fire falls" descend 
every evening in tourist seasons. And the 
most startling part of the affair was that 
she was not lunching alone! With her was 
a handsome Englishman registered at the 
hotel by the obviously fictitious name of 
"John Smith." 

On threat of taking away her horse, they 
finally forced her — sulking and storming — 
to accompany the party down the trail. 
After that she was watched closely, and 
was seen to keep numerous trysts with her 
mysterious Englishman, whose identity 
has never been discovered. The strong- 
minded guide who had the distinction of 



making Greta Garbo do something she 
didn't want to do is still pointed out to 
admiring tourists in the Yosemite! 

The immense cliffs, piled peaks and 
waterfalls of the Yosemite have doubled in 
the mo\ies for the Alps, the Yukon, the 
Rockies, and the Adirondacks. "Private 
Lives" was shot in the N'alley; "The Last 
of the Mohicans" and "The Easiest Way" 
also had Yosemite for their settings. Tom 
Mi.\ has made three pictures there, and 
Lenore Ulric made an Alaskan feature for 
Fox in its wilds. 

The Nearest Mountain Playground 

ONLY two hours from the rose gardens 
of Beverly Hills to the deepest snow- 
drifts, Lake Arrowhead resorts call the stars 
between pictures. At the North Shore 
Tavern in the summertime, Miriam Hop- 
kins plays tennis; Al Jolson goes to the Lake 
to fish; and Anita Page takes her family 
there for speed boating and canoeing. 
Reginald Denny, using the breast stroke, 
swam the entire three-mile length of Lake 
Arrowhead last summer — the only one ever 
to perform this feat. 

But it is only within the last three years 
that winter sports have been developed in 
the Arrowhead regions. Recently an en- 
thusiastic crowd of picture people attended 
the opening of the great new ski^ jump. 
There are two toboggan slides, and an ice- 
skating rink as well. 

In one of the cabins of the Lodge, Helen 
Hayes rested after the finish of "A Farewell 
to Arms," and studied the script of "The 



72 



Son-Daughter." The most recent fihn 
honeymooners to seek out Arrowhead are 
Harold Lloyd's father and his bride, who 
strolled about the Lake taking motion pic- 
tures of each other. The unwearied Charles 
Laughtons, who saw more of Southern 
California beauty spots in their six months' 
stay in Hollywood than most natives, have 
been familiar figures — and what a figure 
Charlie is, to be sure! 

In a lonely cabin on Lake Arrowhead, 
legend has it, the mysterious Garbo once 
immured herself. Discovering her presence, 
a dozen youths from a college in the Valley 
turned up at midnight under her windows, 
to serenade her. But the great Garbo was 
evidently unaccustomed to such attentions 
for she screamed and fled out of the back 
door, to seek refuge with a neighbor. 

Where Film Society Plays 

HOT Saturday" was taken at Arrow- 
head, the company staying at the 
Lodge. Since Nancy Carroll was the only 
woman among ten men, she was never 
allowed to dance more than five feet with 
any one of them before another cut in. 
Gary Cooper made a snow picture there 
two years ago, and its wood paths, hills, 
ravines and water views have been the 
scenes of many screen wooings, fights, 
rescues, and adventures. 

It is interesting to notice that since 
Leatrice Joy's marriage to the wealthy 
William Hook, Jr., and since the ad\ent of 
Park Avenue personalities, such as Adrienne 
Ames, into the movies, pictures of screen 
players are now appearing in the Society 
Sections of the local papers. This was 
evidenced recently when an impressed Holly- 
wood read, under the picture of Ex-Movie 
Star, stretched in a deck chair on a terrace 
overlooking the Lake, "Mrs. William Hook, 
Jr., of the Younger Social Set, enjoying the 
winter's sun at Lake Arrowhead." Was 
Hollywood set up! 

Motion picture stars have earned the 
reputation of being hot-house creatures, 
pampered, and silken. But the sight of 
Cary Grant and Wynne Gibson galloping 
Western ponies along the Arrowhead trails, 
of Warren William, prone on his stomach, 
guiding a toboggan down the twisting 
mountainside, of Eddie Cantor and his fi\e 
girls pelting each other with snowballs, 
should go far toward giving the lie to such 
an impression. Maybe those publicity boys 
have the right idea when they go out 
"shooting snow stuff"! 




Kcustone 

Harold Lloyd, who learned his skiing at 

California mountain resorts, tries his 

skill at St. Moritz, Switzerland 



VIVIDLY 



Ch 



arming 



I 




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73 



"Mama, Where Do Wampas Baby Stars 

Come From?" 



since departed from the Hollywood scene, 
but the following might give you a fair idea 
of how one girl was promoted as a Baby Star: 

A certain unmarried executive in a Holly- 
wood studio was giving a certain very pretty 
and ambitious little girl a romantic rush just 
about the time the Wampas was to make its 
Baby Star selections of that particular year. 
So he called his own particular press-agent 
into his private sanctum and said, "Either 
you get Miss Blank elected in that Baby 
Star group this year — or maybe somebody 
else will be turning out publicity for us next 
month." 

What was the poor lad to do? Obviously, 
nothing short of "campaigning" among his 
fellow press-agents for the lady, explaining 
his job plight and promising on his word of 
honor to cast one of the thirteen votes al- 
lotted to him for their prospective candi- 
dates. 

Don't get the idea, however, that all 
Wampas Baby Stars are selected through 
executive favoritism. That is, in fact, the 
exception rather than the rule. Last year, 
the Wampas ignored one big studio entirely 
in their balloting — and this year, no less 
than one-third of the Baby Stars are not 
tied up with any studios. In fact, the free- 
lance players were so popular that three of 
them were tied in the balloting — which ex- 
plains why there were fifteen Baby Stars. 

Girls Introduced Themselves 

BACK in the early 1920's, when W'ampas 
selection was far more highly coveted 
than it is to-day, or has been in the four 
years of the talkies (whose demands are 
more severe than those of silent pictures), 
ambitious girls, themselves, very often con- 
ducted their own "campaigns" and did 
their own plugging without any help at all 
from the Front Office. 

Back in one of the early years of the 
Baby Stars, a pretty younger sister of a star 
was very ambitious to follow- her famous 
sister's footsteps — and so greatly did she 
desire to be listed as a coming starlet by the 
Wampas that she staged a "campaign" in 
the best electioneering tradition. Or, at 
least, her press-agent staged it for her. 

Beautiful and expensive photographs of 
the little newcomer, in every pose and mood, 
were put on exhibition at all the pre-selec- 
tion meetings of the Wampas for a month 
in advance. Many friendly and chatty let- 
ters were mailed to individual members of 
the press-agent body. Certain "influential " 
members were contacted by telephone by 
one of her ambassadors. In fact, it has been 
estimated that her Wampas campaigning 
must have cost her somewhere around one 
thousand dollars of her own hard-earned 
cash! The outlay on photographs and a 
press-agent might easily have cost that much. 

Another hopeful candidate of the same 
year liked the idea so well that she went it 
one better. This lady had large three-sheet 
displays of herself made up and exhibited in 
the corridors leading to the Wampas voting 
rooms! A great many readers may consider 
these very high-pressure methods and un- 
fair competition — since many other candi- 
dates probably could not afford such "cam- 
paigns." But if girls were ruled out for 
ambition in Hollywood, believe you me, few 
of the starring ladies whom you so deeply 
admire would now be casting their glamour- 
ous shadows on the silver screen! If "all is 
fair in love and war," that goes double for 
the difficult job of getting oneself recognized 
in Hollywood, which acquaints itself only 
with advertised products! 



{Continued from page S/) 

How Janet Became a Baby Star 

ONE of the most successful Baby Stars 
and, at the same time, one of the most 
difficult girls to "sell " to the Wampas body 
was Janet Gaynor. At the time Janet was 
selected as a Wampas Baby Star, she was 
one of the least-known young ladies in 
Hollywood. It is true that she had done a 
picture or two, but no one in particular had 
ever heard of her, and those few who had 
were nc-t predicting any dazzlingly brilliant 
future for her. There was, howe\er, one 
young newspaper man who believed in Janet 
as the whole world has come to believe in 
her since. 

His name was Herbert Moulton, and, 
according to all the reports, he was deeply 
in love with the little ingenue redhead. 
Through his newspaper connections, he was 
well acquainted with all the press-agents 
who made up the Wampas membership. 
Never did any self-appointed manager try 
so hard to put over a protegee as Herb 
Moulton attempted to "sell" Janet Gaynor 
to the Wampas. Finally, because everybody 
liked Herb and because, after all, she was a 
cute little thing, Janet awoke one morning 
to find her name among the honored! The 
listing as a Baby Star was Janet's first big 
break in the line of publicitj-. It was the 
ending of her days as an inconspicuous 
actress in Hollywood. 

In 1926, the year Janet was elected, the 
Wampas boys reached their greatest heights 
as star-pickers. Consider the entire 1926 
list: Mary Astor, Mary Brian, Joyce Comp- 
ton, Dolores Costello, Joan Crawford, Mar- 
celine Day, Dolores Del Rio, Janet Gaynor, 
Sally Long, Edna Marion, Sally O'Neil, 
\'era Reynolds and Fay WVay! 

In view of the successful careers of more 
than eighty per cent of these girls, is it any 
wonder that in the next few years most of 
the ambitious new actresses of Hollywood 
wanted to get on that desirable listing as a 
Wampas Baby Star? Only one girl (who 
has also disappeared from the Hollywood 
scene in recent years) tried too hard — and 
defeated her own purpose. She made the 
mistake of renting an expensive suite in a 
hotel, giving lavish cocktail parties, and 
trying to make the boys feel ungrateful if 
they didn't elect her. Her effort was a flat 
failure. No matter how clever she was, it 
looked like a risk to name her as one of the 
honored. 

A far more successful way of gaining 
Wampas recognition has been down the 
altar-bound path, bedecked with orange 
blossoms. Kathryn McGuire married a 
Hollywood press-agent. So did Caryl 
Lincoln. And Maryon Aye. 

And now that you have a pretty fair idea 
of where at least a few of the Wampas Baby 
Stars have come from, let's get out our old 
lists and see where many of them have gone 
since the fateful year they were elected : 

1922 

Maryon Aye — divorced from Harry Wilson, 
press-agent, and retired. 

Helen Ferguson — widow of William Rus- 
sell; now married to Richard Hargreaves, 
banker, and retired. 

Lila Lee — making screen comeback after 
long illness; prominent free-lance featured 
player, engaged to George Hill, director. 

Jacqueline Logan — has been starring in and 
directing English films. 

Louise Lorraine — was a serial queen for a 
time; last seen in independent pictures. 

Bessie Love — now married to William 
Hawks, and retired. 



Kathryn McGuire — married to George 
Landy, press-agent, and plays in an occa- 
sional picture. 

Patsy Ruth Miller — married to Tay Gar- 
nett, director, and seldom acts. 

Colleen Moore — now staging screen "come- 
back" at M-G-M. 

Mary Philbin — retired. 

Pauline Starke — recently on stage; now 
attempting screen comeback. 

Lois Wilson — prominent free-lance leading 
lady to-day. 

Claire Windsor — recently in vaudeville; 
now attempting screen comeback. 

1923 

Eleanor Boardman — expects to return to 
screen after di\'orce from King N'idor. 

Evelyn Brent — prominent free-lance dra- 
matic actress to-day. 

Dorothy Devore — married and retired. 

\ irginia Brown Faire — married and a recent 
mother; plays in occasional independent 
picture. 

Betty Francisco — free-lance player of sup- 
porting roles. 

Pauline Garon — playing in Duffy stock 
companies. 

Kathleen Key— living in Europe. 

Laura La Plante — married to William 
Seiter, director; acti\"e on stage of late. 

Margaret Leahy — returned to England after 
unusually brief Hollywood career. 

Helen Lynch — retired. 

Derelys Perdue — playing in vaudeville. 

Jobyna Ralston — married to Richard Arlen, 
and retired. 

Ethel Shannon — widow of Joe Jackson, 
writer and press-agent. 

1924 

Clara Bow — before talkies, the biggest box- 
office draw in the movies. Since marrying 
Rex Bell, has made successful comeback. 

Elinor Fair — divorced from Bill Boyd, and 
plays in occasional independent picture. 

Carmelita Geraghty — fiancee of scenarist, 
Carey Wilson. Plays small parts. 

Gloria Grey — free-lancing. 

Ruth Hiatt — playing in short comedies. 

Julanne Johnston — dancing in Hollywood 
night-clubs. 

Hazel Keener — whereabouts unknown. 

Dorothy Alackaill — married to Neil Miller, 
and still prominent in films. 

Blanche Mehaft'ey — playing in stock com- 
panies. 

Margaret Morris — playing in Westerns. 

Marian Ni.xon — retired when she married 
Edward Hillman, Jr. Now making big 
screen comeback at Fox. 

Lucille Ricksen — died at height of career. 

Alberta Vaughn — playing small parts in 
current pictures. 

1925 

Betty Arlen — playing in independents. 

X'iolet Avon — whereabouts unknown. 

Olive Borden — has been in vaudeville; now 
in Europe. 

Ann Cornwall — married and retired. 

Ena Gregory — married to director Al 
Rogell. 

Madeline Hurlock — married to Marc Con- 
nelly, dramatist, and retired. 

Natalie Joyce — free-lancing in pictures. 

Joan Meredith — married and retired. 

June Marlowe — playing in stock companies. 

Evelyn Pierce — has been playing in inde- 
pendent pictures. 

Dorothy Revier — prominent free-lance lead- 
ing woman. 

Duane Thompson — married and retired. 

Lola Todd — free-lancing. 



74 



1926 

Mary Astor — prominent free-lance player 
to-day. 

Mary Brian — ditto. 

Joyce Compton — also doing well. 

Dolores Costello — married to John Barry- 
more, and retired. 

Joan Crawford — M-G-M star of the first 
rank. 

Marceline Day — alternates between stage 
and independent pictures. 

Dolores Del Rio — a free-lance star to-day; 
has been severely ill. 

Janet Gaynor — Fo.\ star; voted most popu- 
lar girl star of screen. 

Sally Long — has done few pictures in recent 
years. 

Edna Marion — free-lancing. 

Sally O'Neil — now making personal appear- 
ances throughout country. 

Vera Reynolds — well-known free-lance 
player. 

Fay Wray — prominent free-lance leading 
lady. 



1927 

Patricia Avery — whereabouts unknown. 

Rita Carewe — retired. 

Helene Costello — divorced from Lowell 
Sherman, and retired. 

Barbara Kent — free-lance ingenue; recently 
married Harry Eddington, Garbo's mana- 
ger. 

Natalie Kingston — free-lancing to-day. 

Frances Lee — free-lancing. 

Mary McAllister — married, but plays oc- 
casional screen role. 

Gladys McConnell — married to Hollywood 
lawyer, and makes occasional independent 
picture. 

Sally Phipps — went to New York stage and 
married Philadelphia millionaire; now 
divorced. 

Sally Rand — playing in vaudeville. 

Iris Stuart — whereabouts unknown. 

Martha Sleeper — does small parts at 
M-G-]VL 

Adamae \'aughn — has been playing in oc- 
casional independent picture; sister of 
Alberta \'aughn. 



1928 

Lina Basquette — alternates between vaude- 
ville and pictures. 

Flora Bramley — whereabouts unknown. 

Sue Carol — making personal appearance 
tour with husband, Nick Stuart. 

Ann Christy — free-lancing. 

June Collyer — married to Stuart Erwin and 
retired. 

Alice Day — married, but plays in occasional 
independent picture. 

Sally Eilers — prominent Fox star; married 
to Hoot Gibson. 

Audrey Ferris — plays in short comedies. 

Dorothy Gulliver — free-lancing. 

Gwen Lee — plays in occasional independent 
picture. 

Molly O'Day— sister of Sally O'Neil; play- 
ing in vaudeville. 

Ruth Taylor — married and living in New 
York. 

Lupe \'elez — prominent free-lance featured 
player. 



1929 

Jean Arthur — successful on Broadway last 
season; recently returned to screen. 

Sally Blane — prominent free-lance player; 
sister of Loretta Young. 

Betty Boyd — playing in short comedies. 

Ethlyne Claire — married and retired. 

Doris Dawson — married to Pat Rooney, 
III, and retired. 

Josephine Dunn — on New York stage. 
(Contimced on page yS) 




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IVIake $1 equal $3 

PEPSODENT ANTISEPTIC is 3 times as powerful as 
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Two kinds of antiseptics 

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For years 3 people in 4 diluted the 
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75 



HANDED 













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Janet's ''Happy Marriage" Ends 



{Continued from page 27) 



Do you think that divorce would hurt my 
career? Do you think that because of the 
roles I have always played, the public 
would resent it?" 

She spoke abruptly, as though the words 
were forced from her. The poised, enigmatic 
Janet, so familiar to Hollywood, was gone. 
She was a harassed and worried girl who 
asked a question over which she had been 
brooding for a long while — perhaps for 
years. And she followed it up with another 
question. 

"Do you think — if I should ever get a 
divorce — that people would bring up the 
old story and drag in poor Charlie, now 
that he has left Fox? Do you think people 
would — talk? " 

It is the first time in many months that 
Janet has given an interviewer a glimpse of 
her heart. Recently, she has delivered 
pleasant platitudes on "her career," "suc- 
cess," "fame" and "the demands of the 
screen." Now, in a moment, the secret was 
out. No one could help guessing that Janet 
Gaynor had been making the best of a mis- 
taken marriage for the sake of her screen 
career, and possibly in order not to embar- 
rass one of her most cherished friends, the 
man who has played her picture-lover so 
often, Charles Farrell! 

Perhaps the fact that Charlie had left 
Fox, which meant parting professionally 
from Janet, hastened the C.aynor-Peck 
separation. She and Charlie would not be 
appearing together again; the rumors of a 
possible romance between them would die a 
natural death. .Moreover, had not Charlie 
publicly said that he felt that in their co- 
starring ventures he had always placed the 
lesser role and, for the sake of his own 
screen future, was seeking independent 
stardom? He had gi\en the impression that 
she had appreciated his viewpoint, and that 
they were still good friends — but would 
probably see each other only infrequently, 
now that their paths would no longer cross. 

The Parting Came Suddenly 

IT seems unlikely that Janet had long 
planned the sudden separation from the 
handsome boy she always addressed affec- 
tionately as "Peck\-." .\ month before 
their parting, Lydell confided that he and 
Janet were going to Europe for a short trip 
when she finished "State Fair." to join 
their most intimate friends. Bill and Nan 
Howard. On the \ery e\ening when they 
separated, they had attended " Maedchen in 
Uniform" together. .'\nd though it was 
almost two weeks later when the news of 
their separation broke, her own studio had 
had no inkling of her intentions! 

The story of the Lydell Peck-Janet Gay- 
nor romance is so interw'oven with that of 
the Charlie Farrell-Janet Gaynor romance 
that it is impossible to speak of them sepa- 
rately. 

A rising young San Francisco lawyer and 
a member of a socially prominent Oakland 
family, Lydell Peck was no stranger to 
Hollywood when he eloped with Janet. For 
many moons he had been a guest at movie 
parties and an escort of lo\ely screen stars, 
among them Fay Wray, Claire Windsor and 
many others. It was generally rumored 
that the young attorney was "movie- 
struck." 

Meeting him in San Francisco, William 
Howard, the director, invited him to his 
home when he next visited Los Angeles. 
Lydell accepted "on one condition — and 
that is that you invite Janet Gaynor, also. 
She is the one Hollywood star I have 
always wanted to meet." 

At the Howards' charming home, Janet 
and Lydell met — but their acquaintance 
was so inconspicuous that Hollyw-ood gasped 
when it heard of their marriage. It was gen- 



erally believed that Janet and Charlie were 
engaged, and a whirlwind of rumors imme- 
diately began blowing fantastic tales of a 
lovers' quarrel and a "spite marriage" 
around Hollywood. 

The story that was told in those days — 
told over and o\'er again, with variations, in 
the Brown Derby, at Malibu, over the tables 
of the Mayfair, and on studio sets — was as 
dramatic and unreal as a scenario for a 
screen melodrama. Its truth, of course, 
only two people know surely. 

How Romance Was Wrecked ? 

J.\NET and Charlie — the story ran — were 
engaged. But Charlie still saw a good 
deal of a screen actress whom he had 
known and admired for years. Janet, the 
tale went, finally got him to promise to 
break off this old friendship. A few days 
later, Charlie and two friends were setting 
off for a trip in his yacht when his tele- 
phone rang. It was the other woman call- 
ing. Feeling that there was no time like 
the present to burn his bridges, Charlie 
asked her to meet him at the boat for a 
few minutes, as there was something he 
wanted to talk to her about. One of the 
men, whom Charlie supposed to be his 
friend, excused himself, stepped to another 
telephone, and called up Janet to say that 
Charlie was planning to meet this actress 
on his yacht. The next day, an amazed 
town heard of Janet Gaynor's sudden run- 
away marriage to Lydell Peck, the young 
.San Francisco lawyer, who was soon to 
give up his law practice to become a film 
executive and be near his wife. 

"Which is-all ridiculous," Charlie told us 
a few weeks ago. "Certainly, Janet and I 
were in love — and out of love — lots of times! 
But I think we both knew that marriage 
simply wouldn't do for us. I've always felt 
her marriage was a real love match — " 

Whatever the truth may have been re- 
garding Janet's marriage, there was no 
doubt about what her fans thought of it! 
Almost at once the letters began to piour in, 
lamenting the broken romance of their be- 
loved screen sweethearts, indignantly de- 
nouncing her for disappointing them, pity- 
ing Charlie for his supposedly broken heart, 
which — newspaper sob-sisters assured them 
in print — was the reason for his suddenly 
departing on a yacht trip. 

And when Charlie, himself, married sud- 
denly — more than a year after Janet's wed- 
ding — other melodramatically romantic ru- 
mors flew about. He had gone to New \'ork 
to sail for a long holiday in Europe. While 
waiting there, he telephoned \'irginia \'alli, 
playing on the stage on the West Coast, 
proposed by long-distance, and she rushed 
across the country to meet him, marry him, 
and make his European trip a honeymoon. 
Rumor had it that he did not tell Janet of 
his plans until the wedding was all over, and 
that she burst into tears when she received 
the news. Rumor had it that Charlie, 
broken-hearted when Janet so suddenly 
wed, had married just as suddenly and im- 
pulsively to show her that the situation 
could work both ways. To all appearances, 
Charlie and X'irginia are very happy to-day. 

Hard to Make the Break 

THERE never has been a romance so 
dear to the hearts of the public as the 
one it has liked to imagine between Chico 
and his little Diane in their "Seventh 
Heaven." For a while after her marriage, it 
seemed that Janet's career was n^lly 
threatened. But she enacted the happy 
bride to perfection, perhaps quite honestly, 
and, reluctantly, her fans decided that they 
had been mistaken about a Gaynor-Farrell 
romance. No wonder she has hesitated to 
risk their displeasure a second time! 



76 



Only one who knows Janet intimately 
can understand what it must have meant 
to her to make this break. Since the day 
when she first stepped onto a studio lot, a 
shy, shabby little "extra," she has lived for 
one thing — her career. For it she has sacri- 
ficed much. The j-oung newspaper man 
who adored her and got Janet her start in 
pictures was left behind as she toiled up- 
ward to the heights. There was no time for 
close friendships, girlish confidences, par- 
ties, thoughts of early marriage, or for any- 
thing but work. 

"I have lost some illusions and been 
deeply hurt by certain things," she told us 
recently, "but I am completely engrossed 
in my job. That should be recompense 
enough for anyone who has passed the stage 
of adolescent dreams." 

Those who li\e in close touch with Janet 
have known for a long time that the break 
was coming. And it will be a real break, 
they say. Finishing "State Fair," her lat- 
est picture, Janet has gone to Honolulu 
with her mother, for a long ^•acation. 
Honolulu is crowded with memories, being 
the scene of their honej'moon, but there 
seems little doubt that she will seek a 
divorce. 

"I'm going to keep my head level through 
this," she says. She looks happier, more 
peaceful, than she has looked for a long 
time. Already speculation is rife as to 
Janet's future plans. Perhaps she has come 
to the conclusion that "she travels fastest 
who travels alone." 

Meet the New Alice 
White! 

{Co7itinued from page 6o) 

and there, 'I'll have mine done!' I men- 
tioned it to Dr. Ginsberg and he told me he 
had often wanted to suggest it to me, but 
hadn't liked to because we n'ere friends. 

"I didn't tell a soul about it. I didn't 
even tell Cy. I knew that he would have 
'tried to dissuade me. He liked me well 
enough as I was. I went alone. I had al- 
ways been annoyed by my nose. I had 
always been conscious of it. It had helped 
to give me the terrible inferiority complex 
I had. There were certain camera angles 
where it was very bad. And so, I had it 
done . . . Cy knew nothing about it until he 
saw me, bandaged and somewhat in pain. 
He felt so sorry for me that he forgot why 
he was feeling sorry. And the only comment 
he has ever made is to say that he hopes 
I won't go high-hat on him now that I have 
a high-hat nose. Which means that he ap- 
proves. 

Having Voice Altered, Too 

I'M having my voice altered, too. 
Lowered. It has always been too child- 
ish. Now I'm having a little voice surgery 
done, too, and — who knows? — I may emerge 
with the larynx of a Bernhardt. 

"It's funny — to disappear and then re- 
appear as a new person. It's like experienc- 
ing reincarnation, and being conscious of it. 
It's awfully funny and exciting to have a 
brand-new Self. You know how you feel 
when you get a new dress, especially one 
you like a lot and that gives you the quali- 
ties you like to think you have. Well, 
imagine what it must feel like to have a new 
face, a new soul, a new SELF. Imagine 
talking to very old friends and being un- 
recognized. Imagine having a new point of 
view about all of life, about people. Imagine 
having a new start in life, a new philosophy 
in place of an old restlessness and the feeling 
that you don't know what you want or how 
to get it. 

"I don't feel that I am staging a 'come- 
back,' as some writers have said. I feel that 
a new girl has begun to work in pictures, 
{Conihiued on page yg) 



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77 




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Mama, Where Do Wampas Baby Stars 
Come From?" 



{Continued fro 

Helen Foster — plays in independent pic- 
tures. 

Doris Hill — under contract to Monogram as 
featured player. 

Caryl Lincoln — has been playing in serials 
and Westerns. 

Anita Page — popular M-G-M featured player. 

Mona Rico — free-lancing. 

Helen TweKetrees — prominent RKO star. 

Loretta Young — soon to be starred by 
Warners. 



There were no 



1930 

1930 selections. 



1931 

-recently 



starred by 
prominent Colum- 
to 



Joan Blondell 
Warners. 

Constance Cummings 
bia featured player. 

Frances Dade — free-lancing; engaged 
marry wealthy Eastern youth. 

Frances Dee — rising romantic ingenue at 
Paramount. 

Sidney Fox — recently married Charles 
Beahan, playwright, but likely to continue 
career — perhaps on Broadway. 

Rochelle Hudson — free-lancing. 

Anita Louise — appearing with Billie Burke 
on stage, between RKO pictures. 

Joan Marsh — prominent i\l-G-M ingenue. 

Marian Marsh — prominent free-lance lead- 
ing woman. 

Karen Motley — prominent M-G-M player. 

Marion Shilling — free-lancing. 

Barbara Weeks — Columbia featured player. 

Judith Wood — screen career interrupted by 
injury; now on Broadway stage. 

1932 

And now for the new Wampas selections 
of I9,i2. Wonder what comment will be put 
after tiieir names ten years from now? 

Lona Andre . . . 18-year-old Nashville 
brunette beauty . . . one of the candidates 
for the role of the Panther Woman in "Is- 
land of Lost Souls," won by Kathleen 
Burke . . . Lona so impressed Paramount 
that they put her under contract. 

Lilian Bond . . . red-headed and famous 
for her figure . . . already a well-known fea- 
tured player . . . was born in London, Eng- 
land, and has appeared on stage . . . latest 
picture, "Hot Pepper "... free-lance. 

Mary Carlisle . . . cute blonde youngster 
of M-G-M pictures . . . born in Boston . . . 
developed into ingenue player from child 
roles in Hollywood studios . . . started 
"grown up" roles in the Collegian Come- 
dies, and was the shy bride in "Grand 
Hotel"... 

June Clyde . . . blonde . . . born in St. 
Joseph, Alissouri . . . young vaudeville 
player brought to Hollywood two years ago 
under contract to RKO . . . most recent pic- 
ture was "Tess of the Storm Country" . . . 
one of the best-known of this year's ^^'am- 
pas crop, and now a free-lance player. 

Patricia Ellis . . . 16-year-old blonde New 
Yorker and not long out of finishing school 
. . . appeared in stage version of "The Royal 
Family," where a Warner scout discovered 
her for pictures . . . latest appearance in 
"The King's X'acation," with George Arliss. 

Ruth Hall . . . Florida brunette . . . had 
very little theatrical experience before com- 
ing to Hollywood . . . her excellent work in 
"The Kid from Spain" earned her a con- 
tract with Samuel Goldwyn. 

Eleanor Holm . . . Olympic backstroke 
swimming champion . . . brunette . . . born 
in Brooklyn . . . first attracted attention as 
the most beautiful champion swimmer in the 
United States . . . went to Los Angeles for 
Olympic Games, and was signed by Warner 
Brothers as a movie player . . . now being 



page 75) 

tutored by a dramatic coach and will be 
featured — in non-swimming roles. 

Evalyn Knapp . . . blonde . . . born in 
Kansas City . . . had stage experience before 
invading Hollywood . . . now free-lancing 
and doing very well . . . injury to back in- 
terrupted career for a time . . . latest pic- 
ture, "State Trooper." 

Dorothy Layton ... a blonde from Cin- 
cinnati, Ohio, by way of X'irginia Beach and 
Baltimore . . . played small roles under 
lr\ing Pichel's direction at -Santa Barbara 
Playhouse and later with Be\erly Hills 
Community Players . . . was signed by Hal 
Roach for comedies, but when elected, was 
a free-lance player . . . now signed with 
Roach again. 

Boots Mallory . . . New Orleans blonde 
who first attracted attention on New York 
stage as chorus girl in Ziegfeld's " Hot-Cha'' 
. . . signed long-term Fox contract only 
when musician-husband, Charles Bennett, 
agreed to accompany her to Hollywood . . . 
Considered a real screen bet in first two pic- 
tures, "Walking Down Broadway" and 
"Handle With Care." 

Toshia Mori . . . born in Japan, but edu- 
cated in Los Angeles . . . replaced Lillian 
Miles, platinum blonde, as Columbia's can- 
didate for Baby Stardom when Miss Miles 
returned to New \'ork stage . . . expected to 
be another Anna May Wong after perform- 
ance in "The Bitter Tea of General \'en." 

Ginger Rogers . . . born in Texas, where 
she first attracted attention as the state's 
champion Charleston dancer . . . first pro- 
fessional work was in a stage show with 
Paul Whiteman . . . well-known on Broad- 
way . . . has reddish-brown hair . . . latest 
picture, "Broadway Bad." 




Marion Shockley . . . pretty Kansas City 
blonde with amateur theatrical experience 
from recent school days at the L'niversity 
of Missouri . . . first film role was in ".Sweet- 
hearts on Parade" . . . Educational Studio 
scout discovered her playing in Denver 
stock company. (That's Marion above.) 

Gloria Stuart . . . blonde Californian, 
and one of the intelligentsia . . . Univer- 
sal scout discovered her appearing with the 
Pasadena Community Players and signed 
her for his company . . . married to young 
artist, Gordon Blair Newell . . . latest pic- 
ture, "Private Jones," with Lee Tracy. 

Dorothy Wilson . . . born in Minneapolis 
. . . former RKO stenographer who was 
tested for role in "The Age of Consent" as 
a publicity stunt . . . test was so good she 
won the role, and performance was so good 
that she was made an RKO featured player 
. . . scheduled to play in "Little Women." 



78 



Meet the New Alice 
White! 

(Continued from page yf) 
from the bottom up, that's all. Her name 
just happens to be Alice White. 

"I feel that that poor, little gone-away 
Alice White never did anything, anyway. 
Not one thing to which she could point, if 
she were here, with pride. I remember how 
heart-broken she was when she wanted to do 
' Bad Girl' — and oh. she wanted to play that 
part that Sally Eilers played more than she 
ever wanted anything in her life! — and I re- 
member too well how she felt when she 
didn't get it. 

" I remember how discouraged that girl 
called Alice used to feel. Discouraged about 
everything. Even about her size. Now I, 
new-born, think of girls like Helen Hayes 
and Sylvia Sidney and of the magnificent 
and dramatic things they do, and I realize 
that exterior size has nothing whatever to 
do with it — it's the size and depth of the 
heart that matters. 

"I think of Joan Crawford and of the 
splendid way in which she, too, has been 
born again, from her old type of work to 
the heavy dramatic part in ' Rain ' and I 
know that if she could do it, I can do it, 
too . . . 

Her Wounds Not Yet Healed 

" /'"^F course, that poor, poor, little, restless 
V-/ Alice felt pretty unhappy when she 
left Hollywood. Being unwanted hurt like a 
violent toothache. She went away with 
wounds that, even now, are scars that ache. 
Even now, I, a stranger, dread going to 
parties, dread being seen in public places, 
hate to mix with people. Cy constantly 
berates me for this feeling, tells me it is 
wrong, that it is bad for me. But I can't do 
it. I still have the left-over feeling that 
people here in Hollywood may be cruel to 
me, may be hard and uncaring. 

"My tour helped me a lot, of course. It 
was my tour that killed the old Alice and 
brought forth the new. I found out that 
people loved me, and love has the power to 
annihilate and to resurrect. I found out 
that they did want to see me, that they 
were, and would continue to be, loyal to me. 
It gave me a pride in myself that I had never 
had, a pride not so much in what I had been, 
as in what I could and would be. 

"I'm proud of the Alice White Fan Club. 
I'm proud of the fact that the girl who is the 
President drove more than eighty miles to 
see me when I was playing in" — (Minne- 
sota, I think Alice said) — "over rough 
roads, through a blizzard. She cared enough 
for that . . . 

" People ask me how I feel about working 
in pictures like 'Employees' Entrance' and 
'Luxury Liner,' and not being the star. But 
I never was a star, not really. I had never 
deserved to be one. I had never earned it. I 
had never had the proper build-up or back- 
ground. I never wanted to be a star then. 
I don't want to be one now — not yet — not 
for a long while. 

"I w-ant to matter in the profession, of 
course. And do you want to know why? 
Not for money. Not for fame and recogni- 
tion. No — for my mother. In memory of 
my mother. She was, as you know, one of 
the first blues singers in this country. She 
had tremendous ambition. She died very 
young — before the happy things happened 
to her. I want to succeed for her. 

" I want to marry — oh, Cy, of course — I 
want to have two children, a boy and a girl. 
I want to have my own home and I want to 
be able to travel and have time to read and 
learn and know about the things I've never 
had time for before. 

"People so often say, 'Oh, if I only knew 
then what I know now — if I only could 
begin again — ' I do know. I am beginning 
again. Isn't it marvelous?" 



HOW IS YOUR FIGURE 



ma mo. 



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Made by Kellogg in Battle Creek. 

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LuPE VEtEZ, fiery little screen :.jr. .j itiinning in 
these entirely different costumes: silver jox, most 
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severest of tailleurs for country or morning in town. 



79 



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Would You Call the Husbands of 
Movie Stars — ''Forgotten Men?" 



{Co7ilinued 

find that it was impossible for him to con- 
tinue in his work for at least six months — 
due to a protective labor law that prevents 
any invading musician from competing 
with local musicians until he has li\ed in 
California a half-year. 

Boots' Hubby Is "Miserable" 

"/''^H.'^RLIE is just too miserable for 
V — J words," explains the rapidly-advanc- 
ing Boots. "I've never seen anybody so 
unhappy! No one knows him, or knows 
what he has done, and he resents like 
the dickens being looked upon as 'just a 
movie star's husband'. But I couldn't stand 
it if he didn't stay with me. I need some one 
to baby me." 

Perhaps the following will give you a 
vague idea 'of what Mr. Bennett is going 
through for the privilege of 'babying' his 
wife: A reporter called a publicit>- office the 
other day, attempting to obtain biograph- 
ical data on Boots IMallory, and asked the 
name of her husband. "Oh, dear," said the 
lad}" who usually gives out such informa- 
tion, "I've forgotten. No one around here 
seems to know. Is it really important?" 

If there is any truth in the old saw that 
misery loves company, Mr. Bennett will 
probably take comfort from a newspaper 
statement concerning another jazz band 
colleague of his from the East who was re- 
cently wed to Bette Davis. To quote from 
the paper: "Bette Davis, celebrated mo\ie 
star, was married this morning to Nelson O. 
Harmon, said to be a musical conductor of 
Boston symphonies." Now, considering that 
the gentleman's name is Harmon (). Ne!so)t, 
Jr.. and that his profession is jazz and not 
s>-mphonies, you can gather what a "forgot- 
ten" comment that was. 

Elissa Landi has had frequent cause to 
chuckle o\ er the fact that her very promi- 
nent barrister-husband of London, England, 
Mr. John Lawrence by name, seems to be 
known to Hollywood only by a phrase. .And 
because the well-known Air. Lawrence is 
only an infrequent visitor to the Malibu 
shores of Holhwood, he, too, looks on it all 
as a good joke. With the exception of a few 
of Elissa's close Hollywood friends, Mr. 
Lawrence is known to the entire colony 
merely as "the English barrister-husband of 
Elissa Landi." 

The Dilemma of Peggy and Allan 

ON the other hand, Allan Davis, husband 
of Peggy Shannon, has ne\er been 
able to "laugh off" Hollywood's polite in- 
difference to his attempts to make a name 
for himself on the screen just as his wife has 
done. Davis is a handsome youth with 
several years of stage experience behind him. 
It is highly possible that if he had not first 
come to the movies as a "Hollywood hus- 
band," he would have rated a screen oppor- 
tunity of his own. 

Allan and Peggy did everything at their 
command to right this "reflected glory" 
angle that seemed to be holding Allan back. 
They even went so far as to separate legally 
. . . though they remained deeply in lo\e. 
But so far, he has not been able to get the 
hoped-for big chance, in spite of the separa- 
tion. To most of the casting directors about 
the studios Allan merely remains "the hus- 
band of Peggy Shannon." 

Back in 1929, when Lydell Peck married 
the Biggest Box-Office Attraction In Pic- 
tures, Janet Gaynor, he was in a perfect spot 
to join the group of Hollywood's "unknown 
husbands." In fact, in the first six months of 
their marriage, the press so completely 
"forgot" him as to insist that Janet and 
Charles Farrell were "still in love with 
each other" — and Lydell and his marriage 



from page jj) 

license did not appear to matter at all. 
But Lydell had his own way of beating 
this Hollywood game. He made up his mind 
to give up his "non-professional" profession 
of the law and to enter the sacred portals of 
the movies, himself, in the guise of a Super- 
visor. To-day, as one of the most important 
young executi\es on the Fox lot, he can talk 
box-oftice and production costs and casting 
with anyone in Hollywood. And when 
Janet recently parted from her husband, 
exerybody knew who her husband was! 

Has Escaped Being "Dr. Dunne" 

ANOTHER husband who has successfully 
. escaped the legion of Hollj'wood's 
"ignored" husbands, is Dr. Francis Griffin, 
husband of Irene Dunne — but he has been 
forced to remain three thousand miles away 
in New York to do it. When Irene first 
"went into the movies," Dr. Griffin was 
seriously considering abandoning his pro- 
fessional practice in New York to settle him- 
self and his business on the Coast. But a 
brief visit to his stellar wife con\inced him 
that it was "no go." 

Irene says her husband learned just what 
being the mate of a nio\ ie star meant when 
someone left a telephone message for her 
with him, and remarked in conclusion, 
"Thank you. Dr. Dn>ine"l Of course, hav- 
ing a husband three thousand miles away 
makes Irene practically "unmarried," so far 
as Hollywood is concerned. She has even, 
baselessly, been rumored engaged to eligible 
Hollywood gentlemen. But Irene and Dr. 
Griffin know better, and she is just as happy 
as is her husband that in New \'ork he is 
decidedly Dr. Griffin . . . and not Dr. 
D II tine! 

Colleen Moore's second husband, Albert 
.Scott, young New York broker, is less well 
known to Hollywood than her first, director 
John McCormick — but Hollywood knows 
him, right enough. It was at a Hollywood 
party a couple of years ago that he first met 
her, and Hollywood is perfectly well aware 
that he is the .Silent Partner in her return to 
the screen. Colleen doesn't gi\e an inter- 
\iew without telling how he urged her to re- 
turn and satisfy her one unsatisfied desire — 
to be a success in talkies. He, himself, is 
classified as a big social success by the film 
colony. 

There are a few other examples of hus- 
bands who ha\e managed to register as 
personalities to the movie colony even with- 
out the extreme measures of either joining it 
or staying three thousand miles away from 
it. 

Frank Woody, husband of Helen Twelve- 
trees, was a well-known young man about 
town for several years before he stepped 
altarward with Helen. His real estate ac- 
tivities had made him many friends in the 
movie colony and at no time during their 
married life has Frank been relegated to the 
background of Helen's social life. He is 
known as a witty, clever, successful young 
man — -even though his success does lie out- 
side the exclusive boundary lines of the 
movie studios. 

Three Headline Husbands 

THE same might be said for those two 
scions of wealth, Townsend Netcher and 
Edward Hillman, Jr., who married Con- 
stance Talmadge and Marian Nixon, re- 
spectively. These young men and their 
millions were good "front-page copy"^ long 
before they took up residence in Hollywood 
as the mates of well-known movie ladies. 

As for the Marquis de la Falaise, husband 
of Constance Bennett, his title, a former 
sensational marriage to Gloria Swanson, and 
the famous tug-of-war between Gloria and 



80 



Constance Bennett for his affections hag 
most certainly lifted "Hank" out of the 
category of "forgotten men." He, too, has 
joined the studio world in the capacity of 
supervisor of foreign versions, and the genial 
Marquis is definitely a part of Hollywood's 
social life entirely on his own. 

Neither has Bolton Mallory ever had his 
feelings hurt by being referred to vaguely as 
the husband of Xancy Carroll. Even the 
press boys always seem to remember to add 
"publisher and editor" after the name of 
Mallory, when they mention him in print. 

Naturally, the playwright, director, execu- 
tive and novelist husbands of mo\'ie stars 
stand equally on their own merits — and such 
ladies as Norma Shearer (Mrs. Ir\ing Thal- 
berg), Helen Hayes (Mrs. Charles Mac- 
Arthur), Arline Judge (Mrs. Wesley Rug- 
gles) and many others are as well known by 
their married names as by their professional 
ones. Which reminds us of a little story 
along this line, concerning Helen Hayes and 
Charles JXIacArthur: 

Charlie's Comeback to Helen 

CERTAINLY, no one in his, or her, right 
mind could ever think of referring to 
Charles MacArthur of Broadway playwrit- 
ing fame as merely the husband of Helen 
Hayes. But Charlie is a great jokester and 
sometimes his highly funny, but often un- 
dignified antics upset Helen just a little (so 
the story goes), though she usually manages 
to "laugh them off." Howe\er, after one of 
Charlie's most outlandish bits of clowning, 
'tis said that Helen remarked to him: "I do 
wish, dear, you would be more careful about 
the things you do and sa>' in public. Of 
course, I know you are only joking, but then 
other people might not understand. Possi- 
bly, people e.xpect a little more dignity from 
you because you are my husband ..." 

Whereupon Mr. MacArthur grinned his 
famous MacArthur grin, patted his diminu- 
tive wife on the head and said : ' 'That 's where 
you have it all wrong, my pet. To the con- 
trary, you can do all the crazy things you 
want to do — because you are my wife . . ." 

We wonder how many of the "unknown 
husbands" of Hollywood would love to be 
able truthfully to make that same remark to 
their spotlighted wives . . . ? But, all in all, 
Hollywood's husbands aren't as "unknown" 
and "forgotten" as they used to be in the 
old days! 




And here are Mr. and Mrs. Charles Mac- 
Arthur — Mrs. MacArthur sometimes be- 
ing known as Helen Hayes. He wrote the 
scenario for "The Sin of Madelon 
Claudet," which won her the 1932 "best 
actress" award 




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81 




And the president signs for the mil- 
lion dollar order! You feel equal to 
anything when your digestion is good. 
But often it isn't quite perfect — yet 
you don't know just what's wrong. 
Just something cramping your style. 

That's why so many chew Beeman's 
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Seeing "42nd Street" Through 
Hollywood's Eyes 



{Continued from page /'o) 



fl^^^^^PECIALLY MADE 
^^ TO AID DIGESTION 



moves on. You learn that a wealthy "kiddie 
kar" manufacturer, played by Guy Kibbee, 
is financing the musical because of his inter- 
est in the prima donna. Bebe, however, can 
only simulate an affection in return, for she 
still loves her less successful dancing partner 
of vaudeville days, George Brent. She is, 
nevertheless, wise enough in the ways of 
show business not to snub an "angel." 

Ruby Keeler's Camera-Fright 

AMONG the many chorus applicants are 
. Ginger Rogers and Una Merkel, "old- 
timers" at the game, and Ruby Keeler, a 
newcomer fresh from .Sioux Cit}', trying out 
for her first show. She confides to the juve- 
nile, Dick Powell, " I was so scared, I walked 
around the block four times before I had 
courage enough to even come and apply 
for a job." 

Hollywood will relish that speech. For 
Hollywood knows that Ruby Keeler actually 
walked around the studio stage at least four 
times, attempting to summon the courage 
to face the cameras for her first scene. De- 
spite the fact that she is the wife of Al 
Jolson and is acknowledged the premier tap- 
dancer on the American stage. Ruby e.xpe- 
rienced a bad case of camera-fright, from 
which she had a slow recovery. Jolson 
would frequently sneak in to watch her 
work, only to dodge behind something if she 
glanced his way. One day she caught him 
and wouldn't go on until he left. Toward 
the end of the picture, however, Al accom- 
panied her to the set e\ery day and sat 
quietly by while she played her scenes. 

Ruby exercised the "no ^■isitors" ukase 
only where her husband was concerned. 
When her two kid sisters, Gertrude and 
Helen, arrived from Long Island, she brought 
them to the studio. Standing in the orches- 
tra pit watching the rehearsal on the stage, 
the two girls were observed by Director 
Lloyd Bacon. 

"Hey, you!" he shouted. "Come up here 
and take your places. Don't you know that 
the call was for nine o'clock?" 

Too surprised to protest, they allowed 
themselves to be sho\ed into the mob of 
chorines. There they were discovered by 
Ruby, who identified them and performed 
introductions all around. Enjoying the joke 
upon himself, Bacon offered the embarrassed 
youngsters jobs in the picture. If you look 
closely, you will find them dancing third and 
fourth from the right in the finale. 

Baxter Makes Them Slave 

IN the second sequence of the picture, 
Baxter finishes the selection of the 
"Pretty Lady" chorus and, facing the 
assembled girls, addresses them. "Tomor- 
row morning, we're going to start a show. 
We're going to rehearse for six weeks. 
You're going to work days, and you're going 
to work nights, and you're going to work 
between times. When I think you need it, 
you're going to dance until your feet fall off 
and you aren't able to stand up. But six 
weeks from now, we're going to have a sho7i<. 
That's all. Tomorrow morning in rehearsal 
clothes." 

Strangely enough, rehearsal clothes of- 
fered a problem, the toughest problem of 
costuming in the entire picture, according 
to Orry-Kelly, Warners' modiste. It was 
simple enough to do lovely gowns for Bebe 
Daniels, or to design a startling group of 
ensemble costumes comprising four whole 
white fox skins for each chorus girl and 
nothing else but a bit of netting. But re- 
hearsal clothes were something else again. 
Most girls wear either rompers or bathing 
suits for real rehearsals. But somehow they 



didn't screen just right. So Orry-Kelly was 
called in to devise more effective garments 
that would still look natural. 

Rehearsals in the film story go on, with 
Baxter driving, dri\'ing, relentlessly, un- 
mercifully. Three weeks pass and his threat 
to dance them until they can't stand up 
seems about to materialize. The fourth 
week drags on and the fifth. It seems im- 
possible that human flesh can endure the 
strain. 

You may ask yourself if these sequences 
are overdrawn — if staging a musical show 
means such tortures. The answer is that 
what you see on the screen is true in ninety- 
nine cases out of a hundred. The business 
of entertaining the public has never been 
child's play. It means hardships. 

How the Girls Kept Fit 

ATYPICAL football training schedule is 
no more stringent than the training 
rules Berkeley enforced upon his girls. Here 
is the day's schedule: 

Arise at seven. Perform strenuous setting- 
up exercises and ten high kicks to start cir- 
culation. Follow with a cold shower. 
Breakfast — orange or grapefruit juice, crisp 
bacon or one egg or small bowl of unsweet- 
ened cooked breakfast food with milk, four 
large prunes, one cup of coffee or tea. 

Lunch at training table — soup, salad 
(either fruit or vegetable), dry toast, tea. 
No dessert. 

Dinner at training table — soup, small 
serving of rare roast beef or one lamb chop, 
two fresh vegetables, not more than one 
small potato, salad, hot drink and only 
fruit, preferably prunes for dessert. 

Retire at ten if not working, for nine full 
hours of sleep. 

And if you don't believe the girls observed 
the diet, you don't know Berkeley. He ate 
with them at the training table every day. 
He took precautions to shut off any supply 
of sweets at the studio. He exercised them 
if work was slack. He had special buses take 
them home and call for them in the morning. 
Finally, he toured the local night-clubs and 
cafes each evening to make sure that the 
girls were not among the revelers. 

So healthy were Berkeley's chorines that 
the director had no difficulty in taking out 
health insurance for the entire hundred when 
the "flu" epidemic broke out in Hollywood. 
Production was halted by the illness of 
Richard Barthelmess and Sally Eilers on a 
neighboring stage. Douglas Fairbanks, Jr., 
came down with "flu," as did dozens of 
others. But not one of Berkeley's girls even 
sniffled. 

No, Berkeley did his job well and appar- 
ently did not lose popularity in enforcing 
strict discipline. His birthday was cele- 
brated during the filming of the picture, and 
a handsome wrist-watch that would be the 
pride of a leading man was presented to 
him by his chorines. It must be reported 
that the director swallowed hard a couple 
of times before responding to the presenta- 
tion speech. 

But back to the story of "42nd Street." 
The show is now in the final process of 
pruning. One number, "It Must Be June," 
is very bad and is thrown out by Baxter. 

He Fooled His Dancers 

IN staging the routine, Berkeley was guilty 
of a deception. He didn't let his girls 
know that they were supposed to be ragged. 
He simply rehearsed them insufficiently and 
allowed all the kinks to remain. Hollywood 
will find this number one of the most amus- 
ing in the picture. 

Hollywood will also enjoy an inside laugh 



82 



at the characters of the two song-writers 
who protest the elimination of their brain- 
child. These roles are placed by Al Dubin 
and Harry Warren, a pair of real-life song- 
writers who are responsible for such hits as 
"Among My Souvenirs," "Million-Dollar 
Baby in a Five-and-Ten-Cent Store," 
"You're My Everything" and many others, 
including all the music for "42nd Street." 
They drew a pair of S7.50 checks for their 
day's "acting," — and look their parts. 

Note, too, the little chap playing the tinny 
rehearsal piano. He is Harr>- Akst, author 
of so many song successes that he can't re- 
member all of them, himself. And take an- 
other glance at the leader of the theatre 
orchestra, Leo F. Forbstein, head of the 
\'itaphone music department, doublmg for 
himself. Both played their roles as larks. 

Sitting in the "bald-headed row" from 
time to time during the production were 
more famous personages than can be identi- 
fied. William Powell was a frequent \isitor, 
as were young Doug Fairbanks and Jimmy 
Cagney. Ruth Chatterton came o\er a few 
times and Miss Barbara Bebe Lyon came 
to see Mama every day or so. 

And so "Pretty Lady" is whipped into 
shape at last. It is to open in Philadelphia, 
before invading New ^'ork. A final dress 
rehearsal and a day's rest. Then on the 
eve of opening, the star fractures her ankle. 
Someone must replace her or the show can't 
go on. Out of the line, Baxter is forced to 
choose the greenest of the lot, the little girl 
from Siou.K City, Ruby Keeler. 

Don't say this is far-fetched or you will 
reveal an ignorance of theatrical history. 
Such breaks have come to dozens of young- 
sters. Some have made good — more have 
failed. 

Baxter works all day with his substitute 
lead. He dri\'es her to the point of utter 
exhaustion and leaves her with but a single 
kindly word. "You'll do," he says. 

How well she does, you will know when 
j'ou see the picture — when you see "42nd 
Street" through Hollywood's eyes. 




Boots Mallory — whose real name is 
Patricia — earned her present name by 
wearing her stepfather's boots as a young- 
ster. Here she's in Erich von Stroheim's — 
and that's his monocle, too 








FIVE YEARS LATER 

BUT, SIS, WHY SO SERIOUS? 
AREN'T YOU GLAD I'M 
ENGAGED? DON'T YOU 
LIKE MY PHIL ? 



OF COURSE I DO. BUT 
MARRIAGE CAN BE SO 
DIFFERENT FROM WHAT 
ONE EXPECTS. .ROMANCE 
FADES SO SOON.. LOOK AT 
TED AND ME 



SIS, IT'S PARTLY YOUR FAULT. TED 
HAS CHANGED BECAUSE YOU HAVE. 
YOU'VE LET YOURSELF BECOME.... 
UNROMANTIC. A LITTLE CARELESS 
ABOUT HOW YOU LOOK. ..SOMETIMES 
EVEN ABOUT "B.O." 



OH, BABS, SURELY 
NOT THAT I 



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BABS WAS A PRETTY BRIDE. BUT THE 
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Clothes Gossip from Hollywood 

{Continued from page 47) 



of "The Past of Mary Holmes," featuring 
Jean Arthur, who has recently returned for 
a new career in pictures after a successful 
season on the New \'ork stage. We are sure 
that if the newspaper boys could ha\-e seen 
Jean in the ducky little gray street suit she 
was wearing this day, they would have 
forgiven her for "sneaking into town" in 
such a mysterious manner. Nobod\' knows 
just why Jean wanted to dodge the Holh- 
wood reporters; but she did . . . and the boys 
got mad . . . and, temporarily, that is that! 

Certainly, if Jean had been wearing this 
particular little gray suit when she alighted 
from the train via the baggage car, she 
would have relented and consented to pose 
for the boys. Because this was a suit that 
not even a movie star bent on seclusion 
would want to hide from the public. The 
material of light gray hair-cloth is used for 
both the dress and hat, and a darker gra>' 
for the jacket. Suede shoes, bag and gloves 
complete the ensemble. Krimmer fur trims 
the collar and lapels. Note Jean's scarf, 
which is of the same material and color as 
her jacket; and note particularly the hat 
she is wearing. The angle . . . the soft 
brim . . . everything about it is brand-new! 

Scarves Are the Newest Fad 

SPEAKING of scarves, they are wearing 
them gay and beaded and brilliant with 
evening ensembles this Spring! Yes, you 
knot them and tuck them into the blouse of 
\our e\ening jacket as casually and as 
"sport-like" as though you were in your 
fa\-orite sports model! 

Raquel Torres introduces this novel little 
style in the Columbia picture, "That's 
-Africa," and, belie\e it or not, the idea of it 
spread so rapidly about Hollywood that 
another famous star from another studio 
utilized it in her eA'ening ensemble at a 
recent opening. No wonder the studio 
stylists like to keep their newest ideas a 
secret until the picture is released! 

Raquel's dress, with which she wears her 
e\-ening scarf, is of black chiffon, hea\ily 
beaded with jet-black beads. It is very form- 
fitting and completel\- backless. And the 
scarf is scarlet red, heavily beaded with red 
beads! Repeat the red color in your satin 
shoes and try that among your clothes 
sensations! This ensemble and color scheme 
are particularly etfecti\-e for decided bru- 
nettes like Raquel. 

And when you see Raquel in "That's 
Africa," your attention will probably be 
caught by the beautiful jewelry she wears 
with her white lace evening gown trimmed 
with white fox. It's real . . . no, not the 
fox . . . the jewelry! What's more, it is 
Raquel's own — and when she isn't wearing 
it, it's in a good, safe place. The perfectly 
gorgeous earrings are fashioned in diamond 
clusters. The ring is a large emerald-cut 
diamond solitaire. And those bracelets are 
a combination of diamonds and emeralds! 
Be sure to watch for the scenes in this 
Wheeler and Woolsey comedy in which 
Raquel wears the white evening gown. 

Sally's Smart New Wardrobe 

THE other day a Hollywood woman who 
know^s her styles said. "I hear that the 
clothes Sally Eilers wears in 'Second-Hand 
Wife' arej quite the swankiest clothes ever 
worn in a Fox picture." That gave us the 
idea of dropping in on Sally on the set of 
"Second-Hand Wife" just to see what the 
lady meant by "swankiest clothes." 

After Sally proudly escorted me to her 
dressing-room to see some of these garments, 
I'm almost inclined to agree that they are 
the smartest I have seen this month. They 
aren't exaggerated . . . they aren't extreme 



. . . but they are the kind of clothes you 
would give your right arm to find hanging 
in your own wardrobe. They're "society 
style" not "movie-starrish" clothes, if you 
know what we mean. 

Take the \ery smart, ultra-fashionable 
lounging robe that Sally wears in "Second- 
Hand Wife." It is of heavy silk . . . black 
and white pin-stripes . . . trimmed with a 
collar of white, with black pin-stripes. Yes, 
Sally even wears a scarf that matches the 
lapels of her lounging robe. It begins to 
look as though Hollywood were going to 
wear scarves to bed this season . . . that's 
how important they are! Two steel buttons 
hold the lapels in place and also decorate the 
cuffs. And though you can't see it in the 
illustrating picture because Sally's arms 
cover it, there is a large steel buckle that 
belts-in the robe at the natural waistline. 
Nothing could be smarter for the college 
girl, the traveling girl, the working girl or 
the society girl (not to mention the movie 
star) than this practical, yet very modish, 
lounging robe of Sally's. 

In fact, all of Sally's clothes are grand in 
this picture, but we want you to notice 
particularly the wool street dress she wears 
in the Fifth Avenue scenes. The material is 
green diagonal wool; and the collar of Mar- 
ten furs is attached to a short cape-like 
wrap of the wool, the combination forming 
the attracti\e scarf, which is detachable. 
The model is plain and tailored, the only 
obvious trimming being the wool fabric 
buttons running the length of the sleeve. A 
black beret, black suede gloxes and slippers 
and a black suede bag are the clever acces- 
sories of one of the smartest outfits you will 
see on the screen this season. 

Adrienne's Unusual Gown 

0\"ER at Paramount we happened to run 
into Adrienne Ames, who was on her 
way to the portrait gallery to make "fashion 
pictures." "Tra\is Banton clothes?" we 
incjuired, and when Adrienne gaily nodded 
in assent, we trailed along with her to 
find out the newest ideas of this cle\er stu- 
dio designer, who makes Marlene Dietrich. 
Carole Lombard and Adrienne, of course, 
the smartly gowned screen women they 
are. 

What a dream of an evening gown 
Adrienne donned first! The material was 
rough, dull white crepe with the most un- 
usual treatment of the collar of the jacket — 
which was nothing less than sable twisted 
around a rolled effect of the white crepe! 
-'Adrienne is crazy about the unusual dress 
and wants to buy it for her very own. But 
Traxis Banton says the idea must be used 
on the screen first and then Adrienne can go 
right ahead and do likewise if she so de- 
sires! 

Another clever outfit modeled by the 
stylish little New York actress was a skirt, 
blouse and jacket effect of rough wool crepe, 
the blouse being featured by its enormous 
design of brown, tan and white plaids! 
Travis says Paramount stars will go in 
heavily for large plaids in their street and 
sports clothes for the screen . . . the bigger 
the plaid, the newer! 

/'// have more clothes gossip from Holly- 
wood for you next month. And I hope to he 
able by then to tell yon about Joan Crawford's 
new wardrobe — which I originally promised 
you for this month. But at this writing Joan 
has not yet started her new picture. A nd, as I 
believe I have hinted, studios don't believe in 
giving out news and photographs of their stars' 
new fashions until a picture is so well along 
that no rival could copy them and get to the 
screen first with them. For all the studios like 
that thrill of springing some fashion news on 
the women folks in every new picture! 



84 



The Movie Circus 

(Conlimied from page 12) 

impossible, for me at least, to approach it 
from the outside. I have to get inside it — 
penetrate not only the far reaches of the 
man himself, but range back through cen- 
turies of Chinese tradition." 

That's all, to put it simply. Now you 
try it. 

A NOTHER Adviser on Screen Success 

l\ is Warren Doane, the veteran producer 
of comedies. "If you want to be a good 
screen comedian," according to Warren, 
"learn to look dumb. Every great comedian 
knows that stupidity, thick-headedness and 
mental mistakes on the part of his character 
are essential to start and maintain self- 
satisfied chuckles in an audience. They 
must sense at once his slow brain and be 
several jumps ahead of him all the time. 
They must see how he could avoid his scrapes 
and predicaments and secretly gloat o\er the 
fact that they would never make the same 
errors in judgment or thinking. If they 
placed him on their own mental plane, then 
his troubles would no longer be comic to 
them — they would be tragic." 

There's your comical advice. So you're 
all set for a Cinematic Career. 

THIS service is offered to assist film 
people too busy to take care of requests 
for advice addressed to them. Hut we don't 
know exactly how to help in cases such as 
happen to V'ince Barnett, the professional 
insulter. \"ince has received a letter from a 
college student asking him to help get 
started as a "ribber." 

The student mentioned that he had had 
"considerable success at the University in- 
sulting people," and had been "studying it 
thoroughly," so he now felt qualified to 
start practising! 

WE wonder what started that fellow 
at R-K-0 on his life work? We refer 
to a broadsheet from the studio: "Punning 
may be the lowest form of comedy, but 
nevertheless there's one man in Hollywood 
making a good living at it. He's Charlie 
Sa.\ton, title-writing specialist. He gets a 
good salary for producing such as the 
following: 

"'Shampoo, the Magician,' 'The Gay 
Nighties,' 'Through Thin and Thicket or 
\\'ho's Zoo in Africa,' 'Trouble from a 
Broad,' and 'Aunts in the Pants.''' 

A WRITER whose company we think 
we would enjoy a whole lot more is 
Gene Fowler, who recently turned down 
a vSi200 a week contract from the same 
studio — because it contained a morality 
clause. 

".*\t my age — and with my liver," Fowler 
wrote in sending back the document, "mor- 
ality is a luxury. I like to write about im- 
moral guys, and after all if I 'm writing about 
them I like to get the proper atmosphere. 
First, last, and always, I'm a newspaper 
man, and you know how newspaper men are 
characterized in pictures . . . and who am I 
to make a bum out of pictures?" 

To Tell You The Truth Dept. : 

ZEPPO MARX just took 17 grand out 
of Palm Springs . . . the ban against 
showing kisses on the screen has been lifted 
in Japan . . . Clark Gable and Carole Lombard 
recently hung up a record for the screen's 
longest kiss — according to a speedometer, a 
mile and a quarter . . . Helen Twelvetrees' 
Xmas card was the name"Helen''surrounded 
by twelve little trees . . . those beer barrels 
used in "Flesh" were real ones .... ah 
there, Congress! - 



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Ronald Coltnan Reveals 
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{Continued from page 40) 



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screen depend upon the kind of situation 
one finds one's self in, the type of woman 
with whom one is making love, the emotion 
that is ev^oked by that situation and by 
that woman. That's all I could say about 
it. It's honest. I am not conscious of any 
change in my kisses, or in myself . . . . " 

"Well, so much for that," I said, figuring, 
mentally, that I had one paragraph to work 
with, anyway. 

"I know!" I continued, then. "Haven't 
you some hidden chapter in your life, some- 
where? Can't you imagine the story? 
Can't you see the title — 'Ronald Colman 
Bares Hidden Chapter in His Life'?" 

"By which you mean — ?" 

Won't Talk of War or Romance 

"/'^H, some weird experience you once had, 
V_v during the War, perhaps?" 

A slight shadow crossed his face. He 
said, easily, "Then if I told >ou, it wouldn't 
be a hidden chapter, would it?" 

There was silence. I did not risk break- 
ing it that way again. 

I said, "Vour first love affair? Never 
before revealed?" 

"Dick Barthelmess tells a story on him- 
self," Ronnie smiled, "of his first sweet- 
heart. She was a minister's daughter, I 
believe. He ga\e her the wnmps." 

-Sidetracked! 

I suggested. "Perhaps you have done 
something madly dramatic for love, or some 
lo\e]y, lost lady has committed suicide over 
you, as in 'Cynara'?" 

Ronnie, still smiling, shook his head. He 
said, "If I told you a hidden chapter, it 
wouldn't be hidden, would it?" 

And, I ask you, where would you have 
gone in the face of that? 

Then I plunged again. "Perhaps," I 
said, "you might talk about where jou will 
go from here? What do you want now? 
What is there for you to want?" 

"We mo\ie stars all do ha\e too much of 
everything," Ronnie admitted. "And too 
much makes choice difficult. I want what 
I have never had — " And then he said, 
"I want to marry. I want to find the woman 
who will be for me. I want to retire. I 
want to have a farm somewhere and raise 
pigs and do some truck gardening and have 
children. It's the old answer, isn't it? But 
it's the only life that means satisfaction." 

"You won't do it," I baited him. "No 
one ever does. And you would miss all this 
excitement and attention and glamour ..." 

Knows He Won't Miss Fame 

"T NE\'ER like to make prophecies," 
JL Ronnie said. "I dislike to say any- 
thing until the time has come for ine to act 
upon what I say. But I shall do it one of 
these days. I may not find the woman I 
want to marry, the woman who will want 
to marry me. I may not have the children. 
I hope I do, but that, after all, is in the lap 
of the gods. However, I shall retire, and 
there are a great many things I want to do 
that I have never done — " 

"But how do you know," I persisted, 
"how do you know you will not miss the 
excitement, the pace, the work, all that 
goes with it, good and bad?" 

"I know," said Ronnie, "because, you 
see, I have had these things before." 

Something inside of me clicked. I was 
on the trail — whether he would or no; 
that Something Never Told Before was being 
told, a secret was about to be revealed. 

"Before?" I asked. "You mean — you 
mean that you believe in reincarnation?" 

"It's logical, isn't it?" Ronnie asked. 
"Yes, I believe in reincarnation. / am an 



old soul, yon see. I have been here before, 
on earth, doing somewhat the same sort of 
thing that I am doing now, in this life. I 
knew it, first, when I stood on the stage of 
the old Haymarket Theatre in London. I 
had had an appointment there to meet the 
manager. As I stood on the lighted, fully 
dressed stage, when they asked me to recite 
something and then offered me a part — / 
kneii' that I had been there before. 

"I went home and I thought of those 
famous Colmans, father and son, of one 
hundred and fifty years ago. Theatrical 
producers and writers, they had made 
theatre history in London in their time. 
And they had owned the old Haymarket. 

"I began to do some searching back on the 
family tree of the Colmans. I found that 
I could establish, almost without any 
doubt, the fact that I was descended from 
those long-ago Colmans. Then I knew. I 
knew — and I wondered if it might not be 
a matter of more than blood descent? 
Could it be that one of them, or some es- 
sential part of one of them, his intrinsic 
love of the theatre, perhaps, had come back 
to earth again in me? 

Cleared Up Many Puzzles 

IT SEEMED to me that a great many 
things were clearer to me than they 
had ever been before. No one in my im- 
mediate family, for instance, had ever been 
even remotely interested in things theat- 
rical. They could not understand it in me. 
I could scarcely understand it in myself, 
feeling as I did (and still do) about most 
of the concomitants of being a public 
character. No one in the generation pre- 
ceding me had had any flair for the stage 
or anything to do with it. Why? This, 
perhaps, was why. 

"It explained other things to me — the 
fact that you can meet a man who has had, 
in this life, all and more of the same ad- 
vantages you have had, and yet not know 
him. Perhaps he has been to the same 
schools, been through the War, lived in the 
same environment — and yet there will be 
nothing in common between you. There 
will be nothing to talk about. Nothing of 
communication. Because, you see, that 
man is a new soul. The richness of the res- 
idue of other lives is not his." 

I said that I saw. I saw a great many 
things. I felt that this might explain more 
about Ronald Colman than even he, per- 
haps, realized. 

"Old souls," I said, "those of us who have 
been here before — isn't it said that we 
never find our rightful mate until we find 
the one we loved those other lives ago?" 

"Yes." 

"Then — you told me once, as we have 
mentioned, that you are not a woman- 
hater. On the contrary. You told me that 
you are, perhaps, just an idealist, waiting, 
hoping that the right woman will — " 

"Will come back, you mean? Why not? 
But really — " Ronnie smiled again, that 
sudden, amazingly genuine smile of his, 
"aren't we getting into very deep water?" 

I thought, "No, not getting — we have 
beeii in very deep water. And the story is 
done. The untold story has come to light, 
has opened. The secret is out." 

And this is the way it happened. You 
have been with me while I inter\'iewed Ron- 
ald Colman. And you have followed the 
method of casting a net here and there in 
deep waters, hoping to ensnare an old love 
affair, a weird adventure, a secret — and you 
have seen how, as night fell, Ronald Col- 
man's belief that he has lived before fell 
into that net. 



86 



Letters From Our 
Readers 

(Continued from page 6) 

The Big Four 

BRIDGEPORT, CONN.— After seeing 
Mr. Paul Muni, Mr. George Arliss, Mr. 
Lionel Barryniore and Mr. Ed. G. Robinson 
a few times, it is beyond my meagre compre- 
hension how people can claim this and this 
actor or actress to be one of the greatest of 
his profession ever, other than one of these 
four men. To appreciate the true art of 
acting one must witness these men. 

It is my belief that it is the actor, not the 
story, which makes a good picture. Give 
any one of these men the poorest story one 
can unearth and lo! and behold! it is a 
great drama, a heart-rending story, a picture 
worth viewing I Thai is why these men are 
men who top the pinnacle of their profes- 
sion. From Disraeli to a merciless, cowardly, 
scarfaced gangster; from a great but drink- 
crazed lawyer to a man who has but two 
seconds to live; they live their roles, they 
are these men they portray, heart and soul 
and their audience li\es their parts with 
them. H. S. S. 

Garbo and Dietrich No Warblers 

CORONA, _L. I., N. v.— The producers 
ha\e a \'ery irritating trick of throwing a 
star's voice at our heads and telling us that 
we are listening to something wonderful. 
The particular case I ha\e in mind is Mar- 
lene Dietrich's singing in "Blonde \ enus." 
We are shown view after \iew of the spell- 
bound audiences held [enthralled b)' her 
weak and unmusical singing. 

In "As Vou Desire Me" the same thing 
was done with Greta Garbo. but it was done 
in an even more flagrant manner. Marlene 
Dietrich at least sang her own songs and 
couldn't help it if she had no ability; Greta 
Garbo had a double (and with all the talent 
of Hollywood at their disposal they had to 
pick a singer who was actually worse than 
Dietrich) and we were treated to the spec- 
tacle of a presumably intelligent audience 
goggling in awe at the soul-stirring singing 
of Garbo's double. 

Perhaps we were expected to belie\e that 
the audiences were attracted by the beauty 
of the stars or by the sex appeal in their 
\oices, but I find it hard to belie\e that the 
women (who were as enthusiastic as the 
men) could ever be attracted by any such 
thing. Sidney Goldberg. 

How About Full-Length 
Animated Cartoons? 

ATLANTA, GA. — Many persons con- 
sider that the animated cartoon is the 
brightest spot on the movie horizon today. 
Alickey Mouse, the Silly Symphonies. Betty 
Boop and others attract countless cinema 
addicts who care little for Garbo and Gable. 

\\ hat is the future of these dancing, ever- 
changing pen-and-ink lines? The months 
and years to come will surely add much to 
the appeal of the movie cartoon. Color has 
already come to the Silly Symphonies; 
speech has taken the place of gurgling. 

Isn't the time ripe for a full length, 
feature cartoon? Not one hurriedly thrown 
together, but a carefully planned and drawn 
picture, with a real plot, as well as that 
humor which can only be portrayed in the 
exaggerations of the artist. The leading 
characters should, preferably, be synthetic 
humans, and not childish animals, but 
animals should have minor roles. 

I would welcome such a screen novelty. 
And I am just an average mo\ie fan; I am 
in every city and village, millions of me. 
The line forms at the box office! 

Win ship Leonard. 




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Conrad Nagel Tells What's Wrong 
with the Movies 



{Continued from page 2g) 



ing, and he is lucky if he is through by eight 
that night. Twelve hours a day. It saps 
the vitality and whatever creative ability 
the actor possesses. 

"Any artist must constantly have a fresh 
viewpoint, and you can't have it under 
pressure of this sort. The depression is 
given as an excuse for the limited time 
assigned to a picture, so that expenses can 
be cut down. And the actor comes to the 
set in the morning worn out, weary, jaded 
and nerve-racked. Under such conditions, 
you can't have that fine frenzy of creative 
interest which an actor must bring to his 
role. It emasculates your body and your 
soul. 

"Fairbanks, Lloyd, Chaplin — none of 
them ever made a good picture by punching 
a time-clock. Yet tfie studios, out of 
necessity, rush their pictures through on an 
iron-bound schedule to meet release dates. 

"Studios to-day don't e\"en wait for per- 
fected scripts. In the last year I have made 
three pictures that did not have a story 
ready when they were begun. I ha\e come 
on the set with the dialogue writer and the 
director, and written the stuff which we had 
to shoot two hours later. It's humanly 
impossible to turn out a work of art in that 
manner. 

"In one picture, I had a scene that ran 
ten and a half minutes — the longest scene it 
is possible to make. We agreed on the 
dialogue at nine-thirty in the morning and 
shot it at eleven. It should have taken us a 
day for rehearsal and a day for shooting. 
But we had to finish it in an hour. The 
director, one of the best in the business, 
knew that it couldn't possibly be a fine per- 
formance, but he was under pressure of a 
release date and he had no choice. 

No Time to Live Their Roles 

"T EARNING lines is the least of an 

1 J actor's job. He must get the feel of 
the story. He must project himself into a 
character, construct it and develop it. 
There isn't one scene out of ten that doesn't 
disclose that dri\en, haggard, my-God- 
what'll-I-say-next look in the eyes of some 
actor. The resultant picture is a stock per- 
formance, rather than a polished Broadway 
production. And you can't gWe people a 
fifty-cent show, which wouldn't extend the 
abilities of their local stock company, and 
expect to keep them coming into motion 
picture houses. 

"Broadway productions take weeks for 
rehearsals and trj-outs before they consider 
themselves ready. The words become auto- 
matic, and then for day on day the actors 
concentrate on the tempo of the play — the 
only thing that makes it real and vital. 
Certainly, Hollywood actors aren't superior 
to the most skillful stars of the legitimate 
stage. Why, then, do motion picture pro- 
ducers expect them to give a finished char- 
acterization when they've been introduced 
to parts of their roles possibly an hour or 
two beforehand? 

"The public doesn't overlook these defi- 
ciencies. There is no group of people in the 
world so keen as movie or old-time vaude- 
\ille audiences. They do honor to the 
artistry of a George Arliss. They turn 
thumbs-down on an actor who is unsure of 
himself or of his speech. In both cases, it 
isn't open-eyed analysis. It is rather an 
instinctive reaction. They resent and dislike 
the imperfect, the slipshod, or the almost- 
just-as-good. They automatically recognize 
unsureness and errors, even if they can't 
give names to them. 

"And this failure to get the script and 
dialogue to actors early enough and without 



hurrying the writers, so that they may be 
memorized correctly andproperly rehearsed, ♦ 
is a fundamental wrong in the movies. ij 

Players Are to Blame, Too 

"T) UT the motion picture actor is at fault, 
O too. He has little sense of responsibil- 
ity or of self-reliance. On the stage, an 
artist must stand on his own two feet. He 
walks out in front and either makes good or 
flops. But the screen actor relies on the 
director to compensate for his own short- 
comings. I have witnessed one scene shot 
thirty-seven times. If the actor hadn't gone 
into that bit with the feeling, 'Well, if that 
take isn't any good, we'll do it again,' it 
couldn't have happened. 

"Hollywood lacks that show-must-go-on 
spirit. That trouper attitude. I was once 
in a stage play with a comedian who, a 
second before his cue came, received a tele- 
gram that his wife had died suddenly. Their 
devotion to each other was a saga of the 
theatre. Yet he went on, played his comedy 
part to the hilt with the tears streaming 
down his face. I've ne\er seen such a display 
of courage among movie actors. The show 
must go on! A grand tradition! The screen 
would benefit if it assimilated a portion of it. 

"It takes five groups to make a picture — 
the producer, the director, the writer, the 
actor and the technician. There is dissension 
and jealousy between these units now. The 
producer wants no advice from the director, 
the writer, the actor or the technician. The 
director, the writer, the actor and the tech- 
nician danm the others. No one cares for 
anyone but himself. If Hollywood had a 
spark of that loyalty to the screen which 
stage actors give to their play, it would knit 
them all together. Personal animosities and 
reactions would be forgotten in their labors 
toward a common achievement. 

The Secret of Chaplin's Success 

"' I HE whole industry has become top- 

JL heav>-. I look to the near future to 
mark its break-up into units. Then art can 
once again become the dominating factor in 
picture-making. You can't reconcile art and 
industry. That attempt has brought con- 
flict and failure to a thriving business. We 
can again cite Chaplin, Fairbanks and 
Lloyd as successful proponents of the theory 
that art can be made profitable. They ha\e 
done it with their leisurely schedules of pic- 
ture-making. They make no sacrifice to a 
time-clock or to the calendar. Their scripts 
are as perfect as they can be made before a 
camera turns. Every actor knows his job 
thoroughly before he is called on for his part. 

"Some day soon, Hollywood will find the 
brilliant leader it so desperately needs, and 
then it will emerge from the morass of 
bewildering theory and haphazard effort. 
Actors will be jolted out of their smugness, 
their indifference. They'll take picture- 
making seriously — with fear and trembling 
and consecration in their hearts — the proper 
approach to artistic accomplishment. 

"When that time comes — and if theatres 
do their share by facing squarely their own 
issues — then the industry will find that the 
present critical condition is a thing of the 
past." 

And thus Conrad Nagel answers the 
query, "What's Wrong with the Movies?" 



From time to time, Motion Picture plans 
to invite other film notables to present con- 
structive criticisms of motion pictures, as a 
whole. Watch for them. In the meantime, 
think over what Conrad Nagel has said. He 
would like to know if you agree or disagree. 



What the Stars Are Doing 

{Continued from page id) 

McCoy, Tim — playing in The Brand Inspector — • 
Columbia Pictures Studios, 1438 Gower St., Holly- 
wood, Cal. 

JVlcHugh, Frank — recently completed G^-aMrf Slam 
— Warner Bros. Studios, Burbank, Cal. 

Merkel, Una — playing in M'hisllins In The Dark — 
Metro-Goldwyn-Mayer Studios, Culver City. Cal. 

.Mlljan, John — playing in Whistling In The Dark 
— Metro-Goldwyn-Wayer Studios, Culver City, Cal. 

Morley, Karen — recently completed Flesh — ■ 
Metro-Goldwyn-Mayer Studios, Culver City. Cal. 

Muni, Paul — latest release / Am a Fugitive from 
a Chain Gang — Warner Brothers Studios, Burbank, 
Cal. 

Murray, James — playing in Central Airport — 
First National Studios, Burbank, Cal. 



Conrad — playing in Auction In Souls — 
Tiffany Studios, 4516 Sunset Blvd., Hollywood, 



Cal. 

Nugent, Edward J. — recently completed /find 
Street — First National Studios, Burbank, Cal. 

/~|akle. Jack — recently completed Uptcnon New 
^-^ York — Tiffany Studios, 4516 Sunset Blvd.. 
Hollywood, Cal. 

O'Brien, George — playing in Smoke Lightning — 
Fox Studios, 1401 N. \\'estern Ave., Hollywood, Cal. 

O'Malley, Pat — recently completed The Penal 
Code — International Studios, 4376 Sunset Dr., 
Hollywood, Cal. 

Owen, Reginald — playing in .1 Study In Scarlet — 
Tiffany Studios, 4516 Sunset Blvd., Hollywood, Cal. 

pallette, Eugene — playing in Pig Boats — Metro- 
■'• Goldwyn-Mayer Studios. Culver City, Cal. 

Pichel, Irving — playing in King of the Jungle — 
Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 

Pickford, Mary — playing in Secrets — United 
Artists Studios, 1041 No. Formosa Ave., Hollywood, 
Cal. 

3^ :!c ^ 

naft, George — recently completed L'nder-Cover 
'^ Man — Paramount Studios, 5451 Marathon St., 
Hollywood. Cal. 

Raymond, Gene — playing in Ex-Lady — Warner 
Bros. Studios, Burbank, Cal. 

Robinson, Edward G. — latest release Silver 
Dollar — First National Studios. Burbank, Cal. 

Rogers, Ginger — recently completed 42nd Street — 
First National Studios, Burbank, Cal. 

Rogers, Will — recently completed State Fair — Fo.x 
Studios, 1401 N. Western .Ave.. Hollywood, Cal. 

Roland, Gilbert — playing in Our Betters — Radio 
Pictures Studios, 780 Gower St., Hollywood. Cal. 

Ruggles, Charles — playing in Murder at the Zoo — 
Paramount Studios, 5451 Marathon St., HoUvwood. 
Cal. 

* * * 

Ccott, Randolph — recently completed Hello, 
'^ Everybody'. — Paramount Studios, 5451 Marathon 
St., Hollywood, Cal. 

Shannon, Peggy — recently completed The Blue 
Moon Murder Case — Warner Bros. Studios, Burbank, 
Cal. 

Shearer, Norma — latest release .S )«.///«' Through — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 

Sidney, Sylvia — playing in Jennie Gerhardt — 
Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 

Stanwyck, Barbara — playing in Baby Face — 
Warner Bros. Studios, Burbank, Cal. 

Stevens, Onslow — recently completed Nagana — 
Universal Studios. Universal City, Cal. 

Stuart, Gloria — playing in Private Jones — 
Universal Studios, Universal City, Cal. 

* * * 

'T'albot, Lyle — playing in She Had to Say Yes — 
■*■ First National Studios, Burbank, Cal. 

Tobin, Genevieve — playing in Infernal Machine — ■ 
Fox Studios. 1401 N. Western Ave.. Hollywood. Cal. 

Todd, Thelma — recently completed .4 /)• Hostess 
— Columbia Pictures Studios, 1438 Gower St., 
Hollywood. Cal. 

Toomey, Regis — playingin.S/!e Had To Say Yes — 
First National Studios. Burbank, Cal. 

Toomey, Regis — playing in State Trooper — 
Columbia Pictures Studios, 1438 Gower St., Holly- 
wood, Cal. 

Tracy, Lee — playing in Private Jones — Universal 
Studios, Universal City, Cal. 

\7'elez, Lupe — recently completed Hoi Pepper — Fox 
Studios, 1401 N. Western Ave., Hollywood, Cal. 

* * * 

Walthall, Henry B. — recently completed 4?nd 
Street — First National Studios, Burbank, Cal. 

West, Mae — recently completed She Done Him 
Wrong — Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 

White, Alice — playing in Picture Snatcher — 
Warner Bros. Studios, Burbank, Cal. 

Windsor, Claire — playing in .Auction In Souls — 
Tiffany Studios, 4516 Sunset Blvd., Hollywood, Cal. 

Wray, Fay — recently completed The Wa.K Museum 
— Warner Bros. Studios, Burbank, Cal. 

Wynyard, Diana — playing in Men Must Fight — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 

* * * 

VT'o^tig, Loretta — playing in She Had to Say Yes — 
•*■ First National Studios, Burbank, Cal. 

Young, Robert — playing in Turn About — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 




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ultra-modern house. She told me, not long 
ago, that irrespective of her future screen 
career, the ranch will always be her per- 
manent home. She is committed to the 
"good earth" — and there's a strange con- 
tradiction in her case, for she was born and 
raised in the tenements of Brookljn. 



AS a matter of fact, this contagious desire 
. for land seems to take no account of 
individual backgrounds. Miriam Hopkins, 
city-bred and socially inclined, recently be- 
came the owner of a model farm in Con- 
necticut, promptly fell in love with rural 
life, and won a clause in her new Para- 
mount contract that guaranteed her three 
months each year on her farm. 

Gloria Stuart is counting the days until 
she can fulfill her "back-to-nature" dream. 
She and her artist-husband, Gordon Blair 
Newell, own twenty acres of redwood forest 
in the Big Sur country, South of Carmel, 
the famous artists' colony. It is completely 
isolated and as beautiful as an Eden. They 
plan to create there a new artists' colony, 
consisting of not more than five families, 
and live as close to nature as possible. 
Gloria has no compunctions about admit- 
ting that the screen, to her, is merely a 
temporary source of money and self-satis- 
faction. Her real ambitions are literary. 

Richard Dix, John Miljan and Fred 
Kohler have bought ranches in the San 
Fernando X'alley and live permanently on 
their properties. Kohler raises chickens; 
Miljan has become a horticulturist of note; 
and Dix raises — Allah alone knows what. 
He has kept his ranch a profound mystery; 
no one in the studio even knows its location. 

Wallace Beery, another courtier of Na- 
ture, has bought an island in Silver Lake, 
high in the Sierras, and spends practically 
all of his spare time there, fishing and hunt- 
ing and loafing the days away. His brother, 
Noah, owns a much-publicized fishing resort 
in the .San Gabriel Alountains and lives on 
a small ranch in San Fernando \'alley. 

Picture Lewis Stone in Overalls 

LEWIS STONE bought an orange ranch 
_, several years ago and plunged head- 
over-heels into the study of citrus culture. 
At Jirst, he intended to make his property 
nothing more than a profitable hobby. It is 
now of equal importance to his screen 
career. He built an elaborate ranch-house 
and lives, the year around, close to the 
earth. Between pictures, he is to be found 
in overalls, at work about his orange trees. 
Even Buster Keaton, as much a stage 
product as a back-drop, has fallen victim to 
the land fever. He owns a huge tract in 
Mexico, near the city of Monterey, and, 
in normal times, reaps a very neat profit. 
He spends much of his time on the property 
and plans to spend even more in the future. 
Robert Montgomery — have you ever 
thought of him as a farmer? Well, he is one. 
He owns a small farm in Westchester 
County, New York, and talks about his hay 
and apple crops. He plans to live there after 
he retires. 

Irving Pichel and \'ictor McLaglen are 
gentlemen farmers at La Canada, a beauti- 
ful foothill district some fifteen miles from 
Hollywood. Pichel did much of the con- 
struction work on his house, and McLaglen 
is constantly at work on his se\'en-acre 
tract, where he raises citrus fruits, avocados, 
fine poultry and rabbits. 

Hoot Gibson's (and Sally Eilers') ranch 
is too well publicized to need mention here; 
furthermore, there is nothing surprising in 



Hoot, a cowboy star, owning a ranch. Tom 
Mix and Will Rogers also are landowners, as 
might be expected. Rogers, m fact, owns 
several California ranches, as well as his 
large farm in Oklahoma. 

Where Chevalier and Arliss Rest 



Miriam Becomes a Farmerette sl 



E\'ERAL of our foreign-born stars have 
O purchased land in their native countries 
and made homes there to which they plan 
to retire some day. Maurice Chevalier, a 
product of the Paris slums, owns a farm in 
the .South of France and spends a goodly 
portion of each year there. George Arliss 
returns for at least three months each year 
to his "country place" in England and 
grows prize tomatoes. Tala Birell, who is a 
self-confessed devotee of the soil, plans to 
buy a farm in her native Roumania. 

Ronald Colman, a typical cosmopolite, 
has rebelled against big-city din. Last 
autumn he bought a huge tract, comprising 
three thousand acres, of virgin beach and 
forest land in the Big Sur country and now 
plans to build a home there, where he can 
achieve isolation and quiet. Being a canny 
business man, he also plans to sell parcels 
of his property when prices return to normal. 

Without having actually turned farmer- 
ette, Elissa Landi has made a noteworthy 
concession to the all-prevalent land-hunger 
by buying a beautiful, secluded estate in the 
Santa Monica Hills. Her property includes 
se\"eral acres planted to citrus fruits, and 
Elissa's principal pride and joy is a single 
tree that yields oranges, grapefruit, lemons 
and limes. Harold Llo>d has a much larger 
estate in Beverly Hills — but you've all 
heard of that privately owned park. 

They're All Doing It 

IT would be impossible to list in one short 
article the host of filmland celebrities 
who have acquired property in the past 
few years. I have only noted a few of the 
more outstanding landlords. The significant 
thing is the trend itself — the overwhelming 
urge to return to the land. 

Spencer Tracy is looking for an Arizona 
cattle ranch that will meet his specifications. 
Ramon Novarro is scouting the little-de- 
\eloped country between Los Angeles and 
San Francisco for acreage that will yield 
both isolation and good crops. Alexander 
Kirkland confesses to an irresistible urge to 
pay agricultural taxes, and George Raft — of 
all people — has bought a chicken ranch. 
Kenneth MacKenna and Kay Francis own 
a genuine old Colonial farmhouse on Cape 
Cod, which is waiting for their "permanent 
honeymoon." Returning to the Coast, 
Helen Hayes and Charles MacArthur re- 
gretfully left their newly-acquired, old- 
fashioned New Jersey farm. 

Marie Dressier, who, by the way, re- 
cently purchased a roomy estate in Beverly 
Hills, tells of her plan to buy a much larger 
property near Santa Barbara. 

"There," she says, "I want to retire and 
live as simply as the Lord will permit. I've 
traveled all over the earth and seen most of 
its famous beauty spots. But I want to die 
in my own garden, in California." 

Land-hunger! It's sweeping the world, 
according to the psychologists, who use 
multi-syllable words to explain just why 
jaded humanity is turning back to the 
elementals. And these HoUywoodites have 
become so surfeited with artificialities in 
their stage and screen careers that they fall 
easy victims to the epidemic. 

Incidentally, I wonder if Garbo the Great 
actually bought that island from the Ivar 
Krueger estate? 



90 



News and Gossip of the 
Studios 

{Continued Jro in page ^g) 

been dangerously ill is Zasu Pitts, who 
underwent an emergency appendicitis oper- 
ation and also passed through a crisis. She 
will be out of pictures for about three 
months . . . Elissa Landi, seriously ill with 
influenza, held up production for se\eral 
weeks on "The Masquerader," in which she 
is Ronald Colman's leading lady . . . 
Theodore Von Eltz is recovering from se\ere 
injuries incurred when he was run down by 
a hit-run driver . . . Albert (".ran, famous 
old character actor (who played the taxi- 
driver in "Seventh Heaven"), was killed 
recently when struck by a motorist. 

" QHE may look like a balloon smuggler, but 
w3 she can dance like any Baby Star," 
said Glenn Tryon, watching Kate Smith, 
the hefty radio songstress, now become a 
picture songstress (and star) in "Hello, 
Everybody." In spite of her weight, she 
was the most graceful figure on the floor at 
the Cocoanut Grove the other evening. 

GOING to the boat to see Mrs. Alan 
Dwan, wife of the director, off on a 
trip to Europe, Marilyn Miller and Don 
Alvarado were carried ofT to Europe, tech- 
nically "stowaways." France would not 
permit them to land there without pass- 
ports — though Marilyn was anxious to get 
to Paris to visit her former husband. Jack 
Pickford, who was very ill in the American 
Hospital there. The "stowaways" went on 
to England, and England permitted them to 
land until their boat headed back for New 
York (a matter of a few days). In the 
meantime, however, Marilyn fell ill in a 
London hotel and was forced to postpone 
her return trip. She denied to British news 
sleuths that she and Alvarado were married 
and considered the enforced trip a honey- 
moon — but said they were planning to wed 
shortly. 

A LL sorts of hardy characters are work- 
l\ ing in Hollywood now. One of them is 
Richard ("Royal Road to Romance") Halli- 
burton, the chap who swam in the Taj 
Mahal lily pool (though someone who has 
been there insists that it would be hard even 
towade in it). He has just flown around the 
world, taking pictures, and has brought his 
film to Hollywood to be used in a movie. 
And Aloha Wanderwell, whose dashing hus- 
band was recently murdered on their ship, 
has been making public appearances locally 
with a travel film they made last year. 
Then there is Clyde Beatty, the world's 
most famous wild animal trainer, who is 
being starred by Universal in "The Big 
Cage," the story of his life. And Roscoe 
Turner, record-holding aviator, has just 
worked with Richard Barthelmess in 
"Central Airport." 

ALICE WHITE is as tickled as a kid with 

l\ a new toy o\-er her contract with 
Paramount for "Luxury Liner." A long 
time ago, when Clara Bow was queen of 
Paramount, little Alice used to hang 
around that studio, just hoping and praying 
for a break. Now she is going in as a full- 
fledged feature player opposite George 
Brent in the story of the high-powered ships 
that travel between the United States and 
Europe. 

VOICE: "May I speak with Mr. Buddy 
Rogers?" 
Mrs. Rogers (his mother): "I wonder if 
you would call around 10:30? Charles 
didn't get in until nearly midnight last 
night and I want him to sleep a little 
longer." 

{Continued on page p5) 



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The New Buddy Wants a ''New Deal" 



{Continued from page 64) 



needed changing, so did Buddy. He went 
away, and stayed away for a year, making 
his hobby — music — his new liveHhood. Now 
he's back, and he's an interesting Buddy. 

"New York's everything," he told me 
earnestly. "I'd go back in a minute." 

"Why not, then?" I asked. "It's still 
there." 

"I am going back," he continued, "as soon 
as I make a picture or two. I wasn't bad 
there, you know. And I'm back here to re- 
mind them I wasn't. It's a matter of pride 
with me. There have been cracks in the 
papers. Writing about certain promising 
youngsters in the films, the newspaper boys 
have finished with this tag line: '. . . let's 
hope they don't do a nose dive like Buddy 
Rogers!' I didn't do a nose dive. I just got 
lousy stories, that's all." 

("Lousy" — from Buddy! My word!) 

"A couple of the biggest executi\es in the 
business think I'xe got something that ni)' 
old pictures didn't bring out. I expect to 
sign with them. I took tests yesterday, but 
wasn't particularly thrilled with the part 
they had for me. Some more of that young- 
boy stufT. I'm not a dewy-eyed boy any 
more. I'm nearly thirty, look it, and feel it." 

"What if you don't like your first pic- 
ture?" 

"Back to New York. I turned down six- 
teen weeks on the road at six thousand 
dollars a week just to show 'em I can make 
a good picture. I don't have to worry about 
Hollywood. I've got my band, radio work 
and personal appearances and the little self- 
important executives out this way don't 
bother me any more. But I want to make a 
good picture, one good picture before I quit 
the game. I recei\ed one thousand letters a 
week from radio fans, and ninety per cent of 
them asked, 'When are you going to make a 
picture?' They wanted me to sign up for 
five years with the first option at one year, 
but I didn't like that. If nothing much hap- 
pens after six months, I'm read\' to sho\e. 
I told them that six months would decide 
things." 

He's Sold on New York 

NOW, frankly, I didn't expect all this. I 
thought ours would be a nice round- 
about conversation, with my chief job that 
of steering Buddy away from Home and 
Mother topics. But Buddy wanted to say 
things. 

For instance: "New York is a square 
town. One bad show doesn't wash you up 
there. Folks know there'll be a good one 
along pretty soon. They don't blame actors 
for the bad lines the\- have to mouth. Out 
here they tag you the first day, and that tag 
sticks. My tag was 'cute' and that was my 
tough luck. I'm going out to beat that 'cute' 
gag. Or get out. 

"New York does things to you," Buddy 
went on. "You meet people who can talk 
about music and art and current e\'ents and 
about food. They're civilized, and so is the 
East." 

"How about New York food, Buddy?" 

"It's best in the speakeasies. We'd make 
for a speak as soon as the show was over and 
have sandwiches and beer. I drank beer 
because I wanted to put on weight." 

"How'd you happen to open the door when 
I called? Where's the butler you're supposed 
to have?" 

Buddy laughed. "I haven't any butler. 
That's just another phoney story about me. 
Mother and Dad and I live here with just a 
Filipino boy to help out. He cooks, drives, 
takes care of the garden, waits on table and 
would rock the baby if we had one." 

"But didn't you always have a flock of 
gents hanging around — a masseuse, driver, 
valet and so forth?" 



"Oh, those," from Buddy. "They weren't 
servants. Just a few Spanish lads out of 
work, who did odd jobs now and then for 
lunch money." 

(And so another Rogers legend bit the 
dust.) 

Will Stick to the "Buddy" 

WHAT are you now — 'Buddy' or 
'Charles'?" 

He smiled wryly. "I've wondered about 
that," he admitted. "I don't like 'Buddy' 
any more than the next one, but I've always 
been 'Buddy.' To change it to 'Chaiules'" 
(he put it on thick) "would be an affectation. 
After all, it's 'Babe' Ruth, and no one thinks 
much about that. Why not 'Buddy'?" 

And, indeed, I didn't know why not. 

He got back to his pet subject. "And an- 
other thing about New ^'ork is the way 
people there mind their own business. What 
you do is your concern and yours alone. If 
\-ou take a girl dancing, you're simply taking 
a girl dancing, that's all. It isn't the signal 
for a crop of rumors to spring up." 

"You mean they left you and your girls 
alone?" 

"Sure they did. Of course, a couple of 
them had me down as pretty fond of Harriette 
Lake, who was doing musical comedy there 
then, but they didn't rub it in. I saw a lot of 
Harriette and of Mary Brian when she was 
there for personal appearances. We'd ride 
out into the country and take short jaunts 
in the yacht I chartered from Larrj- Schwab, 
but nobody tried to make anything of it. In 
New York they're big. People there are too 
busy doing things to sit around gossiping." 

.^s \-ou sit and talk to Buddy, these 
thoughts come to mind: If the lad's not 
changed, as his friends vehemently say, 
Buddy at least has learned to call the bluff. 
Buddy is talking out in meeting to-day for 
the first time. He ma)' be satisfied to have 
his name remain "Buddy," but not his char- 
acter. 

Wants to Act, Not Darzle 'Em 

THE\' say Buddy has grown up. I'm 
ready to belie\e it. Because Buddy is 
facing Hollywood in a decidedly adult man- 
ner. He's making the most of some pretty 
tough circumstances. What are they? Sim- 
ply those of a lad who has been lionized 
before his time and is now trying to fight off 
the ill effects of his phoney glory. 

Buddy's former fame is nothing more than 
a bad hangover to him. I know this be- 
caure I watched him mull through a pack 
of photographs showing him in the center 
of Rogers-crazy crowds all over the globe. 
"Look at 'em!" he said derisively. "Isn't 
that the damnedest thing ? Can you figure 
it out?" 

He's willing to trade all that unstable 
popularity, based on nothing except hysteria, 
for one grown-up good performance. He's 
financially and otherwise able to jump either 
way at the conclusion of the present experi- 
ment. If they treat him well — give him roles 
he can get his teeth into — he'll be a different, 
if not a new Buddy Rogers. If they don't, 
he'll pick up with his band work where he 
left off. 

Since I talked with him, it has been re- 
ported over the Hollywood grapevine that 
the tentative "new deal" has fallen through. 
He and the executives had come to an agree- 
ment about contract, salary and roles — and 
then it was disco\ered that his radio con- 
tracts would interfere with a pictura con- 
tract. But he wants to do a picture so badly 
that maybe that little tangle can be cleared 
up. 

Meanwhile, you know what he's like after 
a year away from the screen. Why not keep 
an eye on the lad? 



92 



Gay, Gifted and Going Places — 
That's Glenda! 



{Continued 

bolstering both these items, isn't an abso- 
lute necessity — for even so unworried a 
young woman as Glenda — you probably 
also think that people in plays are making 
up their lines as they go along! 

Glenda is no stranger to the Coast. 
Early in her career she was a member of 
the Brissac Stock Company in San Diego, 
the Morosco in Los Angeles, and the Al- 
cazar in San Francisco. She got as near 
to apoplexy as is possible for such a good- 
natured girl when the local rave notices on 
"Life Begins" began to appear, and she 
was referred to as a "former Los Angeles 
stock actress" by one widely-read critic. 

"After all I had done since," she cries, 
"to have the memory of those gaga ingenue 
days dragged back! It's like having some- 
one remind H. L. Mencken that he once 
wrote such a silly little book as '\'entures 
Into \'erse'!" 

Bemoans First Screen Effort 

GLEN DA'S aversion to gaga ingenues is 
heavily-inflamed. As a matter of fact, 
her film career nearly never existed because 
of one of them. Out here once before, she 
was given the role of a simpering blonde 
miss in "Little Caesar." She took one look 
at the completed film and caught a train 
back to New York. 

"Was I terrible!" she moans. "Imagine 
a character woman like me skipping around 
in organdie and a wide-eyed expression. 
Lord! For da}'S I was ready to spit in the 
eye of anyone who said 'pictures' to me!" 

Back on Broadway, Glenda was far more 
at home. In fact, it is her home. She loves 
it, loves the life, the people, the tempo. 
She likes hotels and speakeasies and the 
hustle and life of vivid crowds. Intensely 
gregarious, she likes the ancient custom of 
gathering after the show for a couple of 
lunches and a lot of chatter and laughs. 

"That's the thing I miss so in Holly- 
wood," she complains. "It seems so dif- 
ficult for people to get together out here. 
The place is so sprawled out, and what with 
long, hard hours of work and early calls, 
we all seem to be so tired at night that bed 
usually looks a whole lot more inviting than 
parties. 

"Then there is the lack of speakeasies — 
around which so much life revolves in New 
York. I drink very little, personally, but 
I'm not blind to the fact of what a swell 
social agency speakeasies are. Dressing up 
and attending an arranged function always 
is a bit of a task, whereas places where one 
may drop in for a few minutes, say hello 
to friends, and leave — fine. I love people. 
I like to be with them. I miss the 'gang' 
that's always to be found, no matter what 
time it is, in New York." 

Broadway Calls Her "Glenda" 

GLENDA is immensely popular on Broad- 
way. One of the best-liked people on 
the Main Stem, she also is well-approved 
professionally. Successful in such produc- 
tions as "Divided Honors," in which she 
had the stellar role, "Love, Honor and 
Betray," with Alice Brady, Clark Gable 
and George Brent, "The Rear Car," 
"Skidding" and "Life Begins," she has a 
warm place in the regard of the theatre- 
going public. 

To repeat her role in the celluloid version 
of this last play, she returned West to the 
Warners. She has no preference — given the 
proper roles — between the stage and the 
screen. Both interest her enormously, and 
she would just as soon be tops in one 
medium as the other. Her present ambition 
is to win an assured place on the screen. To 
effect that end, no amount of work is too 



from page 5/) 

hard for her — as may be judged from the 
way she has jumped from "Life Begins" to 
Muni's "I Am a Fugitive" to William's 
"The Match King" to Atwill's "Wax 
Museum" to Lukas' "Grand Slam" to 
Lyon's "Blue Moon Murder Case." 

Yet Glenda is not all actress, not by a 
long way. She paints a little, and plays a 
little, and is a whole lot of mother to her 
eight->'ear-old son, Tonmiy, now a young 
cadet in a Hollywood military academy. 
Tommy is the apple of Glenda's eye — her 
major reason for wishing success. Tommy, 
and the fact that with success she can go 
on working. 

Will Probably Always Act 

" T OFTEN think how swell it would be to 

_L marry again and quit — to have a 
husband to depend on, someone to take 
o\er all the bother of money and such. 
But that's only on the dark days. Basically, 
I know I wouldn't be able to get along with- 
out my work. It's too much a part of me." 

Another reason why Glenda probably will 
go on entertaining you until she "drops 
apart" is her consistent extravagance. 
She may have some sense of economics, 
but, if so, she carefully hides it. Charac- 
teristically, she lives in one of Hollywood's 
most expensive apartment houses. Her one 
ambition is for protracted stays in Paris 
and London, and her single grief is that her 
salary goes so fast she cannot afford a 
chauffeur. 

Thus driving is her one form of athletics. 
She has no others. She does, however, have 
all the forms of superstition, with the 
exception of a fear of broken mirrors. 
"I've smashed too many of them, and had 
too many years of good luck, to be worried 
by that one. But as for the others — !" 

And then there is the matter of clothes. 
Strangely enough, Glenda, who gets few 
chances to wear smart clothes on the 
screen, is one of the most smartly dressed 
women in the colony. She prefers simple 
clothes, usually in brown or white, but she 
avoids the tailored look. She has no use for 
mannish attire. 

Her Likes and Dislikes 

SHE also detests loud, noisy people, 
bridge and golf. She can't understand 
why ice cream is so popular — but has no 
difficulty in appreciating the great Ameri- 
can interest in sports. She is an ardent fan 
at polo, tennis, football or baseball events. 
She shudders, however, to think of herself 
as an active player in any of them. She 
professes to be the laziest person alive. 

Glenda has no special ways of keeping fit. 
She doesn't care for rich foods or pastries 
and rarely varies from her 1 15-pound-weight 
average. When she is working, she burns 
up so much energy that she might eat 
twice as much as she does, and still remain 
slender. In the theatre, she loses her appe- 
tite almost completely during rehearsals. 

Neither does she read much, preferring 
people to printed pages. But she does like 
the work of Joseph Conrad and Ernest 
Hemingway, and rarely misses a story by 
C. B. Kelland. In spite of the fact that she 
finds herself cast in crime stories and mys- 
tery and horror dramas, she never reads 
them. She finds them too hard on the sleep. 

Otherwise, Glenda's hours of rest are 
untroubled these da^s. Their one menace 
is the crowds of friends appreciative of her 
humorous face, gay wit and hot-cha manner. 
Ace-high with her studio, and her screen 
public growing by those well-known leaps 
and bounds, she's another of those favored 
children that Broadway has so generously 
lavished on Hollywood! 




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I Could Live Without Love, 
Says Sylvia Sidney 



{Continued from page ^s) 



to proms. She hasn't ever been young, as 
Young America rates things. 

"If a man ever says a dumb thing to me," 
said Sylvia, "I feel like kicking him. If I 
were married to a man like that, I probably 
loould. Or e\'en if a man says something 
that makes me know that I am cleverer 
than he, know more, think more, I feel 
repulsed. 

"Women do not like 'under dogs,' 
sentimentalists to the contrary. Women 
like the Mussolinis of the world. I could 
be very cruel to a man who was my inferior 
in any way. I would loathe him. I suppose 
that I have a 'father complex' — or Freud 
would say so. Perhaps I have. Dad has 
always been so tender, so thoughtful, so 
■wise for me that I am used to that sort 
of thing and that sort of man. 

"If, for instance, a man should ever tell 
me that I could go ahead and do anything 
I liked, have my own way, I would go 
ahead and have it, perhaps, but he would 
have seen the last of me. I am meaning, you 
see, that I want a master in the man I 
marry. A Dictator. I simply have to 
respect a man or I cannot lo\e him. I ha\e 
to be able to look up to him, to know that 
he is wiser and stronger than I and can 
exercise that wisdom and that strength. 

No Flaming Youth for Her 

"T'M afraid I don't like young sort of 
i things at all. I dislike parties. I dis- 
like shopping expeditions. I dislike girl- 
gossip. I almost ne\"er go out, dancing. I 
hate it. When you ask me what I do with 
myself on the nights when I'm not working, 
I can only say that as you see me tonight 
so you would see me almost any and every 
night. 

"Perhaps, because I knew so much un- 
happiness as a child and saw so much 
unhappiness, happiness has been hidden 
away from me. I mean, the gay and care- 
free happiness. It is not my kind, that's all." 

I said, "Sylvia, you have played Butterfly 
— a tragic woman who wanted to die when 
the man she loved went away. Tell me. do 
you think any modern girl or woman 
would feel like that? Are the girls of to-day 
capable of such depth of emotion, such 
stark desperation?" 

"No," said SyK'ia. "There are no love 
heroines to-day. There are no such women 
and no such loves as Butterfly's, as Elaine's, 
as Juliet's. One can only speak for one's 
self, really. I know that I would not be 
capable of such a thing. 

"\'ou see, I have, we all have, to-day, 
too much to do. We do love, after all, in 
the Machine Age. Automobiles. Radios. 
Movies. Tele\-is!on. Airplanes. Things 
moving — moving — at a great rate of speed — 
'round us and above us and beneath us. 
Things that are like steam-rollers, flattening 
out the deep-running strata of passion. 
Things like electric fans, whirring, cooling 
off the fires. 

"This woman. Butterfly, had one thing 
and only one in her life — that man. He was, 
with her, the first man in every respect. 
The first one. The only one. She loved 
him. She lived for him. He replaced for 
her everything that had made up her life. 
He even replaced her gods. She took their 
little figurines down and put his pictures in 
their places. 



"Well, we, to-day, have no gods to be 
replaced. 

Love Isn't ALL Any More 

IT WAS frustration with Butterfly. It 
was the frustration, not of one thing 
in her life, but of everything. All she had. 
All she had ever had. All she ever would 
have. She had become obsessed with one 
overwhelming idea and when she met 
frustration. Death was the only door by 
which she could leave the emptied room of 
Life. 

"I would always have something left, you 
see. So would you. So would Mary and 
.Anne and Sally .... 

"When a girl like this poor Peg Entwistle, 
the former Theatre Guild actress, com- 
mitted suicide, there was more than one 
motive, one reason. They say there was a 
man in the case, an unfortunate lo\e affair. 
But there was, also, her work about which 
she had become discouraged. 

".And I, for instance, might be deeply in 
love with a man tonight. I won't say that 
I am and I won't deny it. Only time will 
tell this story. I know what the papers 
ha\e said. I'm not blind and neither is the 
rest of the reading public. But he is not 
free and I am not speaking — 3'et. How- 
ever, I might be in love tonight and tomor- 
row night I might be told that that man 
had gone out of my life forever, never to 
return. 

"I would, undoubtedly, think at once of 
killing myself. I would luant to kill myself. 
For a moment. For an hour. Love would 
be that important to me. I might e\en 
get down to cases and try to figure out the 
easiest way — poison, gun or hari-kari. Or a 
leap from a skyscraper. 

What Would Prevent Suicide 

I WOULD probably jot down a few 
heart-rending farewell notes. Then — 
then I would stop suddenly and say, 'But 
I can't do this! I can't kill myself tonight! 
1 forgot — I am working. I have a call for the 
morning. There is that big scene to shoot. 
The extras are all called, too. If I fail to 
appear, the rest of the cast will suffer. There 
are those among them who may lose their 
jobs. The production is scheduled and it 
will mean a great loss to the studio. Dear, 
dear, I really cannot kill myself tonight!' 

"And just as I would pause and consider 
these things, so would all the Marys and 
the Sallys and the Annes, ev-erywhere. 
Not unless all their world fell around their ears 
would they choose death. 

"The love of a man would not, to-day, 
be sufficient moti\-e. Not for a normally 
well-balanced girl or woman. There would 
still remain too many other things in their 
lives. Their jobs and keeping faith with 
the people they work with. Their hobbies, 
so many. That nice young flier who had 
promised to take them up on Saturday. The 
opening of that grand new play. The new 
gown being made for the opening. The 
chance of that secretarial position with 
Europe thrown in. Their families. Their 
friends. 

"So many doors are open to the girls of 
to-day that to close one door is no longer 
fatal. There are no love-heroines to-day. 
There are only girls and women who are in 
love with Life." 



Did Yoii Know That— 

Theodore Dreiser, who was so indignant about the screen version of "An American Tragedy," 
explains his selling "Jennie Gerhardt" to the movies by saying, "This is going to be different. 
Sylvia Sidney (who will play the title role) is charming, and I have confidence in Marion Gering 
(who will direct)"? 



94 



News and Gossip of the 
Studios 

(Continued from page gi) 

WHEN we looked in on Douglas Fair- 
banks, Jr., the other day, he had a 
black eye — credit of Ernie Westmorc, 
make-up man. "And I have to do a prize- 
fijjht scene all day and it's my birthday," 
he gloomed. "Want to see what Joan sent 
over?" A huge cake, all roses and birthday 
good wishes and festoons of whipped cream! 
The Junior Fairbankses seem to ha\e reached 
a really good understanding. If both step 
out occasionally with other people, it 
doesn't mean di\orce — just mutual con- 
fidence. 

DOUG and Joan have more fun just 
Ii\ing than most mo\ie couples. At 
Christmastime, Doug re\"eals, he had a job 
trying to get Joan to leave her presents un- 
opened till Christmas morning. "So I 
fooled her," he grins. "I stole three or four 
packages out of her pile and hid them. 
Then when I opened my things in the 
morning, she had some surprises left, too." 

KATHARINE HEPBURN won a college 
reputation as an actress while at 
Bryn Mawr. And yet, according to some of 
the reporters, she still persists in denying 
that she even went to college! Maybe it's 
part of her campaign to be baffling. There 
are also rumors that there has been a dark 
tragedy in her life, which she is trying to 
conceal by mystification. But what chance 
has a girl born and brought up in Hartford, 
Connecticut, to be mysterious? E\en Greta, 
of distant Sweden, has had almost e\-ery 
event of her life industriously dragged to 
light by the news hawks. 

IT is reported that Garbo is denying the 
authorship of a story recently published 
in a magazine under her "by"-line. In this 
story she was purported to give the reasons 
why she didn't marry — the main "reason" 
being that she didn't want her husband to 
be "Mr. Greta Garbo." It is said that she is 
about to start suit, claiming that she did 
not write any such article. And Gary 
Cooper, who had his picture taken drinking 
a glass of good California milk, objects to 
having it used by a New York milk concern 
as an advertisement, and is suing. It looks 
like a couple of cases of movie stars' names 
having been taken in vain. 

BETTY BLYTHE, even prettier than she 
was in her "Queen of Sheba" days, has 
been working in "The King's Vacation." 
with George Arliss. "George is a darling," 
says Betty. "He glanced about him at the 
dozens of extra ladies one morning. 'Dear, 
dear,' he said, mildly, 'such an array of 
beauty.' He's the most charming person to 
work with in the world. And his gallantry 
and attentions to his wife are lovely!" But 
George won't allow any interviewer near 
Mrs. Arliss (vvho is also with him in "The 
King's Vacation"). He just won't have her 
worried. 

MAE CLARKE is seriously thinking of 
starting out on a vaudeville tour with 
none other than ex-hubby, Lew Brice, as a 
partner! This is a real reconciliation for 
these two to get together again, for, at the 
time of the separation bitter feeling ran 
high ... at least on Mae's part. It must be 
something in the Hollywood air . . . they 
just can't stay mad! 

ERMINE seems to be the evening wear 
these days. At the Lionel Atwills' 
party. Colleen Moore's frock had ermine 
sleeves, while Countess Frasso had an 
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Answers to Your Gossip Test 



{Continued from page 14) 



1. Lupe \'elez, the fiery Mexican beauty, is 
pictured on page 14 with Johnny {Tarzan) 
VVeissmuller, recently divorced from Bobbe 
Arnst. They were photographed while 
spending the holidays at Palm Springs. It 
made Lupe furious when her name was 
mentioned as the cause of the Weissmuller 
break at the time of the di\'orce, but they 
are seen together pretty regularly these 
days and Lupe doesn't seem to care who 
knows it. 

2. .After more than twenty years as a cow- 
bo>' movie actor, Tom Mix is retiring from 
motion picture work. He is planning to tour 
the world at his leisure with his wife, Mabel 
Ward, circus aerialist, and confine himself to 
rodeo and circus life. Not many months 
ago. Mix retired his horse, Tony, which had 
appeared in every picture with him since his 
early screen days. 

3. These girls were named as having the 
brightest screen futures h\ the Wampas: 
Lona .Andre, Lilian Bond, Mary Carlisle. 
June Clyde, Patricia Ellis. Ruth Hall, 
Eleanor Holm, E\alyn Knapp, Dorothy 
Layton, Boots Mallory, Toshia Mori, Gin- 
ger Rogers, Marion .Shockle>', Gloria 
Stuart, Dorothy Wilson. 

4. It was Sidnej- Fox who was married to 
Charles Beahan, production manager for 
L^niversal Pictures, at that early morning 
hour at Harrison, N. ^'. This is Sidne\ 's 
first matrimonial \enture and Beahan 's 
second. 

5. From the time -Ann Harding and Harry 
Bannister were di\orced about a \ear ago, 
Hollywood has felt that there would be a 
reconciliation and that seems to be just 
what is happening now. RecentK . .Ann and 
Harry (who was in the East) kept the wires 
between Hollywood and New 'S'ork busy, 
not caring into how many hundreds of dol- 
lars the telephone bills ran. Here's hopingi 

6. The huge solitaire on Lila Lee's finger 
means that she and George Hill, Metro- 
Goldwyn-Mayer director, are engaged and 
that they will be wed in the ver>- near future. 
Lila was di\orced from James Kirkwood in 
1930- 

7. Lina Basquette and Teddy Hayes, her 
husband and manager, who were married 
in New Jersey last year, were again married 
in Washington, D. C. in December. Ha\es 
recently received his Mexican divorce from 
his first wife and wanted to be sure their 
marriage was legal. Lina is the widow of the 
late Sam W^arner and the divorced wife of 
Peverill Marley, photographer. 

8. Janet Gaynor has separated from her 
husband, Lydell Peck, and is planning to 
divorce him. It didn't exactly come as a 
surprise to Hollywood inasmuch as when 
Janet married Lydell, the rumors in that 
town were that she married him only be- 
cause she and Charles Farrell had had a 
misunderstanding. Farrell and Janet had 
been co-starred as a love team, and every- 
body took it for granted that they; were 
lo\'ers off the screen as well. Farrell is now 
married to \'irginia \'alli. Did you read the 
story on page 27 about Janet? 

9. Jimmy Dunn and Maureen O'SuUivan 
are kept busy denying rumors that they are 
secretly wed and they are having a hard 
time convincing their Hollywood friends 
that they haven't taken the step. 

10. When Uncle Sam barred Tala Birell 
from the United States because her passport 



had expired, she went to li\'e in Mexicali, 
Mexico, until she was advised by immigra- 
tion authorities that Roumania had in- 
cluded her in its new quota. 

11. Robert Ritchie, Jeanette Macdonald's 
boy-friend, announced in France, when he 
arrived there to join her, that he and Jean- 
ette were engaged to wed, which was taken 
as a hint that they would be married shortly. 
However, their friends in the L'nited States 
have suspected for a long time that they are 
already married. 

12. Barbara Kent, screen player, was mar- 
ried to Harry Eddington in Yuma, Arizona, 
on December 16. Eddington is the Holly- 
wood press-agent who lists Greta Garbo 
among his famous clients. 

13. Maurice Chevalier was sued by the 
United States government for the amount 
of S475, which it claims is still due the 
Revenue office on his 1930 income ta.x. 

14. "Ex-Lady" is the title of the picture 
in which Bette Da\is, until now a popular 
featured player, will realize her greatest am- 
bition — that of becoming a screen star. In 
the film in which the blonde Bette will ha\e 
her first starring role, she will ha\e Gene 
Raymond as her leading man. 

15. Lillian Roth's engagement and forth- 
coming wedding to Municipal Court Justice 
.Shalleck of New York has been announced. 
Miss Roth di\orced William C. Stout in 
Mexico, not xery long ago. 

16. After his estranged wife, Irene Brown, 
had James Hall turned o\er to the author- 
ities for extradition from California to Con- 
necticut on a non-support charge, they were 
reconciled and she dropped the charges. 
Mrs. Hall took the action because she was 
destitute and Hall admitted that his failure 
to pa>- his wife the S50.00 a week agreed 
upon when they separated was due to the 
fact that he has not worked for some time. 

17. Cary Grant seems to have time for no 
other girl than \'irginia Cherrill these days 
and it looks very much like the real thing. 
Cary gave \ irginia a beautiful diamond ring 
for Christmas. Virginia is the attractive 
blonde who was at one time reported en- 
gaged to marry the wealthy William Rhine- 
lander Stewart, Jr. 

18. Ethel Barrymore is the star who is now 
well on the road to recovery after a severe 
attack of pneumonia. The opening of Miss 
Barrymore's new stage play, "Encore," 
was delayed because of her illness, but will 
shortly get under way again, "Rasputin 
and the Empress," the picture in which the 
three Barrymores, Ethel, Lionel and John, 
appear on the screen together for the first 
time, has embarked upon a long New York 
run. 

19. Charles Butterworth, the popular and 
droll screen comedian, who was married to 
Ethel Kenyon, did not make his marriage 
known until he was honeymoon-bound for 
Miami. His bride is the ex-wife of director 
Eddie Sutherland. 

20. Three hours after Eleanor Fair married 
Thomas W. Daniel, a flier, she was seeking 
to have the marriage annulled. Prank 
Clark, a movie stunt flier, announced that 
Miss Fair was to have married him and that 
her marriage to Daniel was only a spite 
marriage and all "a mistake" and that it 
was brought on by a quarrel that be and 
Miss Fair had. 



Bullfighting— It's an Old 

Spanish Custom, But a 

New Hollywood Craze 

{Continued from page 5 g) 

Goldwyn were numbered among the movie 
folk present to watch the renaissance of a 
sport that had not been seen on California 
soil since the Americans took dominion o\ er 
it. Also present was the watchful delegation 
from the S. P. C. A. This group was on 
hand to see that the picture v\as kept within 
the law and that the bull was killed only by 
inference, which would be satisfactor>' to 
everybody concerned, particularly- the bull. 
The animal was to be manipulated by 
toreros handling nothing more lethal than 
the traditional capes. 

After a preliminary trumpet blast, the 
toreros marched on the field in splendid 
array to the strains of a stirring march. A 
circle of the arena was cleared to be left to 
Sidney Franklin — and a bull. The Brooklyn 
matador greeted the animal with a deft 
handling of his cape, but el toro decidedly 
was not satisfactory, having gone tempera- 
mental in emulation of many other featured 
performers. Nevertheless, by consunmiate 
skill in handling, the American torero 
managed to extract a creditable performance 
from the indifferent animal. 

Came the time for the synthetic assassina- 
tion of the bull, which necessitated some of 
the most intimate convolutions between 
man and animal. As Franklin played his 
now-angry antagonist ever closer and closer, 
there came genuine cries from the bleach- 
erites, not for the safety and welfare of the 
bull, but for the safety of the man. When 
Franklin heard tnis e.xpression of fear for 
his welfare, he was amused at the existence 
of such concern. Never before in his expe- 
rience had an audience expressed any regard 
for the wholeness of his skin. Twice he 
worked the animal into a position to deliver 
the imitation coup de grace while the cam- 
eras spun their celluloid record of the e\'ent. 
The unscheduled fainting of one of the 
women spectators marked the closing of the 
scene. 

Franklin Will Be Busy 

WHEN it was all over, there was an 
opportunity to interview this one 
American who has left his footprints in the 
sands of the bull ring. At the moment he 
seemed most delighted by the fact that, 
included in his group of toreros, was Eddie 
Cantor, probably the world's funniest bull- 
fighter. 

Franklin is sure that such pictures as 
" The Kid from Spain " and others to follow 
will present to the American audience a 
true portrayal of the Latin sport in its 
purest form, the only difference from reality 
being that no bulls will shed blood. 

"From Mexico," said Franklin, "the 
best specimens of bulls can be purchased, 
and if they are young, there will be no neces- 
sity of using the sharp pica to goad them on 
to their greatest efforts. 

"I have received several proposals from 
various studios to star in pictures with a 
bullfighting background. After finishing 
'The Kid From Spain' I will submit to a 
facial operation" — this has since taken 
place — "to remove a few of the marks left 
there as a result of my profession. I regret 
that my profile, without a plastic rebuilding, 
would not be able to stand the revelations of 
a close-up. If I am not Xalentino's image 
after the operation, at least I hope nobody 
will find my nose so long that it will spoil 
the romance of a kiss. 

"I probably will work in pictures as an 
actor or a technical advisor, a teacher of the 
science of tauromaqiiia. Two pictures con- 
cerning bullfighting already are being pre- 
pared, one for Samuel Goldwyn and one for 
RKO, which for two years has been con- 



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sidering a super-production involving a 
Spanish background." 

How He Became a Torero 

ON being asked how he happened to take 
up such an unusual livelihood he re- 
plied, "There is not much of a story. I started 
bullfighting professionally eight years ago. 
I was born in Brooklyn, a son of a street-car 
conductor. I was taken to the Southern 
states when very young, and from there I 
went to Mexico to teach. Instead, I became 
interested in the corrida, as does every 
young man there. After 1924 I spent as 
much time as possible on bull farms, par- 
ticipating in those fights in which becerradus 
— calves — are used. My debut into big- 
league bullfighting took place in Spain in 
1930, after I had made a fairly successful 
tour of many South American plazas. 

"Bullfighting in Spain is a most difficult 
art. Every day it demands the most dan- 
gerous risks, as well as the greatest artistic 
de\elopment. If the retired Juan Belmonte, 
still the king of matadors in the popular 
fancy, returned to the ring with all his 
former ability, his audiences probably would 
be disappointed in him. He scarcely could 
endure comparison with the famous toreros 
of to-day — Marcial Lalanda, for instance, 
whom I consider the best of all." 

Sidney Franklin belie\es sincerely that 
Hollywood is justified in presenting the 
spectacle of bullfighting as one of the newest 
of movie attractions. He is confident that 
nothing objectionable will be found in the 
portrayal. 

"I do not believe," he continued, "that 
pictures in which the corrida is shown or 
exploited should justify the wrath of the 
S. P. C. A. This afternoon the good ladies 
of that organization showed more concern 
o\er my person than that of the bull. The 
playing of the cape, which is the game I 
performed to-day, does not harass the 
animal, but ser\es as an incenti\e to him to 
perform to greater heights. 

Says Americans Are Interested 

AND after all," concluded Franklin, 
. "these pictures can be made in 
Mexico without interruption at the expendi- 
ture of a very few more dollars. \\ hen the 
producers realize the enormous interest of 
the American people in this latest di\ersion, 
they will not hesitate longer. I am confident 
that if bullfighting is a horrible and demoral- 
izing spectacle, the enormous success pre- 
dicted for 'The Kid from Spain' — which 
cost almost a million dollars — would ne\"er 
be realized. Hollywood, at least, has always 
been interested in a minor way in things per- 
taining to bullfighting, as witness its en- 
thusiastic approval of Charlie Chaplin's 
pantomime bullfight which he has performed 
on rare, but memorable occasions." 

After Franklin emerged from the Cedars 
of Lebanon Hospital with new facial con- 
tours, the matter of his being used in other 
bullfighting pictures was brought up. He 
failed to come to terms with Universal, 
which studio has since imported a Mexican 
matador for its own use. Paramount plans 
to use him in a picture, "The Trumpet 
Blows." \'aIentino's famous vehicle, "Blood 
and Sand," was considered and then dis- 
carded in fa\'or of the other. Incidentally, 
\'alentino's modern counterpart, George 
Raft, may be starred in the new picture. 

Radio has purchased "Death in the 
Afternoon" and two other stories with bull- 
fighting sequences — "The Sun Also Rises," 



also by Hemingway, and "The Kingdom of 
God," in which play Ethel Barrymore 
starred on Broadway some years ago. 
Sidney Franklin says that he will play with 
Constance Bennett in one of these two 
pictures. 

It would appear that the S. P. C. A. is 
going to be in for several very active after- 
noons, particularly since many of the mem- 
bers, according to Franklin, are interested 
in seeing the inner workings of a motion 
picture studio. Howe\er, when Universal 
started the production of "Men Without 
Fear," that studio sent a cameraman to 
Spain and Mexico to photograph the action 
in some of the real corridas. The original 
star assigned to this picture was found to be 
unsuitable, so the spot was given to George 
Lewis, a screen juvenile of four years ago, 
seen in the College Boy series. Ramon 
No\arro is also to play a bullfighter in the 
near future. 

In Favor of Screen Bullfights 

NORMAN TAUROG, director and 
Academy prize winner, has the follow- 
ing to say of bullfighting pictures: 

"Of course, I belie\e that these pictures 
can be filmed in a manner harmless to both 
the bulls and the public. The sport inter- 
prets a form of reality- and carries with it 
enough artistry to make it uni\ersalh- 
appealing. I see no reason why Hollywood 
should not take advantage of it for picture- 
making purposes. We must express on the 
screen life as it is, not life as it might be or 
should be. Personally, I think that the 
Spanish fiesta of the bulls constitutes an 
excellent background for screen stories." 

Fredric March, awarded the Academy 
prize for the best performance of 19,^2, 
says, "If I were a bull, I would rather be 
gi\en an e\en break in the bull ring than a 
broken neck in a slaughter house. But, 
then, who would want to be a bull?" 

Dorothy Mackaill enthusiastically in- 
dorses the corrida. Says she, "The magnif- 
icent spectacle of such bullfights as I ha\e 
seen in Spain are sights ne\er to be forgot- 
ten. -Sureh', there can be nothing wrong in 
such a mar\elous display." 

As a matter of fact, every studio worker 
in Hollywood who has been fortunate 
enough to see a corrida performed, either for 
the screen or in actualit>-, has only words of 
praise for the traditional spectacle. That 
is, with the possible exception of one stout 
directorial assistant. This gentleman was 
unfortunate enough to attract the attention 
of the bull during the filming of "The Kid 
from Spain " on an occasion when the animal 
in question was wandering around the 
arena free from leash or bonds of any 
description. Although the incident was 
fraught with possibilities, the efforts of the 
stout one to escape a horn's thrust were 
more comic than tragic to witness. 

Bullfighting has come to Hollywood with 
a \-engeance. Stars who used to intersperse 
their conversation with such terms as 
"chukker," "foot-faults," ''approach 
shots," "double wing-back formations," 
"air pockets," and " three-gaited horses" 
now speak as authoritatively of suerte de 
capa, espanlas, corniveletos, toreros, and 
veronicas. The true bullfight fan has learned, 
among other things, that notwithstanding 
the famous aria in "Carmen," there is no 
such thing as a toreador in Spanish-speaking 
countries. Men of the bull ring are all 
toreros, whether they are capeadores, ban- 
derilleros, picadores, or matadores. 



Bid You Know Thai— 

Spain has an Animal Protective Association, modeled along much the sSme 
lines as the S. P. C. A. in this country, and that it is striving for the same thing — 
namely, to have bloodless bullfights, if there must be bullfights? And that the 
number of bulls killed in Spanish bull rings has decreased thirty-five per cent 
since 1930? 



98 



about YOU? shall men say "SHE IS LOVELY — 

SO EXQOISITE!" 



BY PATRICIA GORDON 




A 




The Music ends — softly. A momentary hush. A throng; but you 
seem mysteriously detached. It is your moment. Something 
portends. Born on the strange silence, a remark — about ^jou. 
Some one says, "She is lovely!" No conscious flattery this — 
not meant to be overheard. And so, a thrilling compliment. 

"So Lovely, so Exquisite!" How? Pretty clothes, daintiness, 
poise, chic? As background, yes. But as to these, men see 
dimly. Only women are critical. Men observe colorful cheeks, 
are entranced by luscious lips, thrilled by eyes brilliant and 
mysterious. Sh-h-h-h! make-up! Ah yes; but make-up so 
clever, so artistic that to masculine ej'es it appears as natural. 

Some Women Know — Some Do Not. How can it be otherwise 
than true? When a woman will tolerate obvious make-up, she 
simply does not knoio the glamorous beauty of harmonized 



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with three delightful Princess Pat beauty aids. 



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m RETIRIHG 
N1933 



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be SURE 

when you plan your trip, that 
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Principal Information Offices: 



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EASTERN GREYHOUND 
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THE GREYHOUND LINES 
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Nome 



Address 



WHAT A 



FOOL 



SHE iS! 



m ^^^^sc Lip"'*' 

^„d she has p.nV' ^ 



IT HAS never dawned upon this 
girl that lipstick draws atten- 
tion to her dull, dingy -looking 
teeth — or she would take better 
care of her teeth and gums. 

Are your teeth dull— or bright? 
Are your gums firm — or flabby? 

If your gums bleed easily — if 
you have "pink tooth brush" — 
the soundness of your gums, the 



I PAN A 



brightness of your teeth, and the 
attractiveness of your smile may 
be in danger. 

"Pink tooth brush" may lead 
to gum troubles as serious as gingi- 
vitis, Vincent's disease, or even 
pyorrhea. It is a threat to the 
good -looks of your teeth — and 
sometimes to the teeth themselves . 

Try the Ipana method of keeping 
your teeth sparkling, and your 
gums firm and healthy. 






Soft modern foods rob your gums 
of the stimulation they need. To 
give them this necessary stimula- 
tion, massage a little extra Ipana 
into your gums each time you clean 
your teeth. 

Almost immediately your teeth 
will brighten. Soon, you'll see an 
improvement in your gums. Con- 
tinue with Ipana and massage, and 
you needn't be bothered about 
"pink tooth brush." 



BRISTOL-MYERS CO., Dept.HH-43 
73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a three-cent stamp to cover 
partly the cost of packing and mailing. 

Name 



Street , 
City.. 



. State. 



A Good Tooth Paste, Like a Good Dentist, Is Never a Luxury 



//. 



// 



CAVALCADE'% "STATE FAIR" ancf NOW 



FOX FriM presents 

A JESSE L. LASKY PRODUCTION 




Where youth finds love 
amid the strangest of 
settings . . . 

Where, before the eyes 
of the curious, is enacted 
a primitive romance so 
thrilling, so tender so 
strange. ..that by the very 
power and uniqueness of 
its story and the produc- 
tion genius of Jesse L. 
Lasky,ZOO in BUDAPEST 
definitely becomes one 
of the leaders in the Fox 
avalcade of Hits. 



^- 





>; 
i. 

JESSE L. lASKY 
The genius who made movies 
the great American entertain- 
ment, crowns his career with the 
year's most thrilling picture. 



(^ 




.Ji~ 







'fm"*- 




r 



♦r'. 



mism'^^ 






with 



LORETTA YOUNG 
GENE RAYMOND 

O. P. HEGGiE 
Directed by Rowland V. Lee 



APRIL 
1933 



MiHimfidure 

Stanley V. Gibson, Publisher 
Laurence Reid, Editor 



o^M^ 




Jean Harlow 

Faces 

the Future 

On March 3, Jean celebrates 
her twenty-second birthday. 
She has come to the end of a 
year that brought her stardom 
— and a year that brought her 
tragedy. The long road of the 
future lies ahead, and Jean is 
facing it without misgiving — 
now. 

Between the completion of 
"Red Dust" and the start of 
"Bombshell" (which is about 
movie life), she has built a 
new home, has been working 
on a novel, has sought pri- 
vacy. And that privacy has 
given her time to consider 
what she hopes the future will 
bring her. 

In this issue, you will find 
an exclusive interview with 
Jean — in which she reveals 
those hopes, and answers 
all the questions you have 
been asking about her in 
your mind! 



C^V^ 



Herman Schoppe, Art Director 



Twenty-Second Year 
Volume XLV, No. } 



^'^X^ 



^Wo 



Features 

"I Shall Marry Again," Says Jean Harlow James Fidler xj 



18 

3^ 

34 
40 



Five Big Stars Are Retiring in 1933 Dorothy Manners 

Now! It's Maurice Chevalier . . . Ask Him A Question .... 

Will Ann Harding Remarry Harry Bannister? .... Jack Grant 

The Studios Know Your Secrets 

By The Favorites You Pick Helen Louise Walker 

"Sweepings" — Seen Thru Hollywood's Eyes Jack Grant 

We Nominate For Stardom — Your Future Favorites 42. 

Clothes Gossip from Hollywood Marilyn 44 

"I'd Make A Terrible Husband!" Says Lee Tracy . . . Gladys Hall 49 

"I'll Never Fall In Love," Predicts Ramon Novarro . .Faith Service 51 

How Would Technocracy Change Hollywood? . . John L. Haddon 51 

Marlene Dietrich Tells Why She Wears 

Men's Clothing! Rosalind Shaffer 54 

Gable Answers Your Questions! Eric L. Ergenbright 56 

World-Explorer Discovers Hollywood — 

Richard Halliburton Mark Dowling 58 

The Strange Case of Duncan Renaldo Hal Hall 60 

Germany Sends Us Another Blonde Venus — 

Lilian Harvey Cruikshank 64 

Departments 

Featured Shorts James Edwin Reid 6 

Letters From Our Readers 8 

Tip-OfFs on the Talkies J. E. R. 9 

What The Stars Are Doing Marion Martone 10 

The Movie Circus Frank Morley 11 

Your Gossip Test Marion Martone 14 

Movie Star Calendar Jose Schorr 16 

News and Gossip 36 

The Picture Parade 66 



Cover Design of Jean Harlow Painted By Marland Stonb 



^^.><^ 



^#.i^^ 



DoROTHy DoNNELL Calhoun, Western Editor 



Motion Picture is published monthly al 350 EasI 22nd Street, Chicago, III. by Motion- Picti'RE Publications. Inc. Entered as second class matter August jr . lo-S, at the 
Post Office at Chicago, Illinois, under the Act of March 3, jSyg: Printed in U. S. A. Editorial and Executive Offices: Paramount Building. 1501 Broad;cay, New York City, X. Y . 
Copyright 1^33 by Motion Picture Publications, Inc. Single copy 13c. Subscriptions for L'.S., its possessions, and Mexico S/..?o a year, Canada $3.30, Foreign Countries 
$3.30. European Agents, Atlas Publishing Company, 18 Bride Lane, London, E. C. 4. .'Stanley V. Gibson, President-Publisher, William S. Petlil, Vice President, Robert E. 

Canfield, Secretary-Treasurer. 




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Featured Shorts 

THE BEST BIG LITTLE PICTURES OF THE MONTH 
BY JAMES Edwin Reid 



A BRAHMIN'S DAUGHTER 

jazz? See "A Brahmin's Daughter" and think again! 



So 3'ou don't think Hollywood 
appreciates any kind of music but 
You couldn't do better if you stayed 
at home and listened to a broadcast of the opera, "Lakme." In fact, you couldn't do as 
well. For here you not only hear a condensed \'ersion of Leo Delibes' opera; you see it, as 
well. And it is a rare treat for both eye and ear. An Englishman enters a Hindu High 
Priest's sacred garden, and there falls in love with the High Priest's daughter, La^w/e; but 
the price of his adventure is death, and Lakme kills herself in grief. Esther Coombs is a 
memorable Lakme. (Educational) 

J|_|^ Gay Nighties someone must be making a good living by 

thinking up punny titles for short comedies — 
there are that many of them. And Clark and McCullough, Broadway's most comical team, 
must be making a good living by playing in some of the punniest (and funniest) ones. For, 
certainly, they have the knack of making an audience smile, snicker and crackle with 
laughter. Their latest nonsense has Clark as a politician, and McCullough as his manager 
— who gets the idea of dressing like a female and vamping their rival to his ruin. A sleep- 
walking beauty and a gang war in a hotel complicate matters — but not a bit seriously, it is 
needless to add. (RKO) 

^ |_j A I 1/ Up After you see this short, you'll probably revise your opinion of 
billiards. Maybe you thought it was a game. But it seems that 
sometimes it is one of the fine arts. As when Willie Hoppe, long the world's champion billiard 
player takes his cue and starts to make those balls go places, very special places, just the 
places where he wants them to go. Even if you never played billiards in your life, you can 
see that some of the shots he aims to make are impossible — until he makes them. It's 
uncanny, the way he never misses. And watching him is like watching a magician at 
work. You are fascinated by the man's dexterity. Here's a real novelty. (M-G-M) 

T|_|C HiTCH-HlKER Harry Langdon looks so innocent that you'd 

never suspect him of making anyone hysterical. 
Which only proves how looks can fool you. For his face is practically all that he uses to 
make this one of the most hilarious comedies that ever glorified his inimitable pantomime. 
In this, he contracts a terrific cold — in Holh wood, of all places — and tries to Get Away 
From It All by the hitch-hike route. Through an error, he gets aboard a big airplane, 
where his sniffles, sneezes and coughs drive his fellow-passengers into a frenzy, make his 
face perform some of the world's funniest contortions, and give audiences hysteria. Harry's 
back to stay! (Educational) 



I 



As THE Crows Fly "^^'^ '^ *^^ ^^^^ two-reel comedy made by 

Moran and Mack, the Two Black Crows, 
lat they're funnier in two reels than in five or six. 
Tg their brand of comedy — which can be over- 
on ivory-headedness and on maltreatment of the 
to be an aviator, goes for a ride in a radio-con- 
idea that he is a pilot. So he and his pal get a 
a non-stop flight to Africa. Their first and only 



And after a look at this sample, I'd say ths 
They don't run the danger of overworking 
worked very easily, depending, as it does, ( 
English language. Mack, who has the yen 
trolled 'plane, and comes down with the 
'plane from a mail-order house to make 
flight is funny. (Educational) 



MY OPERATION 



This is a hilarious take-off of gangster pictures — and 
it features \'ince Barnett, who made a name for himself 
as the tragi-comic "secretary" of the gang leader, in "Scarface." \'ince used to be a 
professional prankster, who hired out to practical jokers to embarrass their friends; now, 
on the screen, Vince is always the one embarrassed. Here, for instance, as a thick-headed 
gardener for a surgeon (Walter Catlett) he puts on the doctor's white coat to see if he 
can't impress nurse June Clyde — and gets kidnaped by gangsters to operate on their 
leader. It's a question which suffers more — \ince or the perforated racketeer. (Universal) 

jyl Q J Q D ^ Y C L E Mania You've seen trick motorcycle riding in the 

news-reels until you're as fed up with it as 
you are with those shots of horse races. But don't get up and start walking when this 
little comedy-thriller flashes on the screen — or you'll miss some healthy chuckles and 
some really exciting stunts. You'll see a cyclist play circus rider ori his machine; you'll 
see a rider play cowboy and do a shooting stunt at high speed; you'll see a cyclist race to- 
ward the end of a high pier, supposedly for a dive, and change his mind right on the brink 
— and then repeat his act in slow motion for a real thrill, while Pete Smith, unseen, wise- 
cracks him on his way. (M-G-M) 

[-J£^Y^ Two Another comedy with a punny title and a pair of gifted 
comics. Harry Gribbon and Harry Sweet, both big Jieavy 
boys, combine their weights and their talents and turn out one of the lightest and most 
hilarious comedies that ever made theatres rock on their foundations. They're a threat to 
Laurel and Hardy if they can keep up the pace, and no doubt about it. In this little 
effort, they are two American sailors on the loose in a Havana cafe. On the verge of cry- 
ing into their beer over the entertainment provided, they decide to liven up things. So they 
put on a show all their own, which practically brings down the house — especially with Grib- 
bon singing. (RKO) 



Tip-Offs On The Talkies 



What They're About — Ajtd How Good They Are 



By J. E. R. 



Air Hostess — A Western in disguise — with the hero 
and villain as fliers, instead of cowboys, and using 
airplanes instead of horses. Evalyn Knapp and 
James Murray have the principal r61es (Col.)- 

The Animal Kingdom — Intelligent comedy, in- 
telligently acted by Leslie Howard, Ann Harding, 
Myrna Loy and William Gargan. All about a chap 
who married the wrong girl and did something about 
it (RKO). 

The Big Drive — A pictorial record from the official 
archives, telling for the first time the real story 
about what the late War was like. Will appeal more 
to men than to women (First Division). 

The Billion-Dollar Scandal— A sly Wall Streeter 
makes a pal out of an ex-convict (Robert Armstrong), 
and the ex-convict later tells on him. A comedy that 
starts well, but sags toward the end (Par.). 

The Bitter Tea of General Yen — Barbara Stan- 
wyck, captured by revolutionaries, attempts some 
missionary work on a romantic Chinese general 
(Nils Asther) in a melodrama that is colorful, but 
slow (Col.). 

Cynara — Ronald Colman, who loves his wife (Kay 
'Francis), discovers, tragically, that it is all too 
possible to love another girl (Phyllis Barry), too. A 
tense love story, beautifully acted (U. A.). 

The Death Kiss — Murder mystery in a movie 
studio, worked out briskly and excitingly. The cast 
includes David Manners, Bela Lugosi and Adrienne 
Ames (World Wide). 

Employees' Entrance — Warren William, who runs 
a big department store, also tries to run the lives 
of employees Loretta Young, Wallace Ford and 
Alice White. Some more suave villainy by William, 
with less of a story this time (F. N.). 

A Farewell to Arms — Ernest Hemingway's semi- 
ironical study of war emotions becomes a love saga 
on the screen, with Helen Hayes and Gary Cooper as 
the tragic, war-weary lovers. Fine acting makes it 
memorable, with only a hokumish ending to mar it 
(Par.). 

Frisco Jenny — Ruth Chatterton again plays an 
unmarried mother who has to make sin pay, has to 
give up her child, and, in later years, finds him the 
agent of her doom. Hardly a new story, but Ruth 
is convincing (F. N.). 

Handle With Care — Romance in the tenements, 
involving James Dunn and Boots Mallory, who are 
taking care of an orphan. The orphan (Buster 
Phelps) runs off with the picture, which is senti- 
mental to the saturation point (Fox). 

Hard to Handle — As a press-agent who can talk 
fast, make money fast, and get into trouble fast, 
James Cagney will make everybody cheer that his 
movie rebellion is all over (W. B.). 

Hot Pepper — Vla%g and Quirl (Victor McLaglen 
and Edmund Lowe) again are battling, but their 
rivalry, which once expressed something, has fallen 
into sexy, slapstick ways. Each is trying to steal 
Lupe Velez this time — and Lupe, without trying, 
steals the picture (Fox). 

H>'pnotized — Moran and Mack, the Two Black 
Crows, return to the screen in a comedy about 
hypnotism that takes a long time to get hilarious — • 





Once pals, a crook and a star — played 
by Hugh Williams and Esther Ralston 
— cross paths again in "Rome Express" 



Fredric March and Claudette Colbert 
play a little game of Pierrot and Pier- 
rette in the fantasy, "Tonight Is Ours" 



and then Ernest Torrence, as the hypnotist, sup- 
pUes most of the hilarity (World Wide). 

The Island of Lost Souls — One of the best of the 
new horror tales — a tale of animals that have been 
turned into half-humans by a mad doctor (Charles 
Laughton). Chief of them is a Panther Woman 
(Kathleen Burke), who makes life exciting for ship- 
wrecked Richard Arlen (Par.). 

The Kid from Spain — Eddie Cantor brings musical 
comedy back to the screen — playing an insanely, 
musically comic bullfighter. It's as amusing as the 
law allows. .And you should see those Goldwyn 
Girls! (U. A.). 

Ladies They Talk About — They are women con- 
victs, as portrayed by Barbara Stanwyck, who goes 
blonde and defies the world to break her spirit. 
Another good Stanwj'ck picture (W. B.). 

Laughter in Hell — Jim Tully's version of chain- 
gang life has some forceful moments, but goes sen- 
timental. Pat O'Brien and Tom Brown are the 
chief victims of society (Univ.). 

Lawyer Man — ^William Powell turns in a colorful 
character study as an East Side lawyer who helps 
the downtrodden and takes up sharp practices in 
self-defense. Joan Blondell is his amusing secretary 
(F. N.). 

Lucky Devils — A melodrama about Hollywood's 
"stunt" men, who dodge death for a living. Bill 
Boyd also tries to dodge romance. A good yarn, and 
it has some breath-taking scenes (RKO). 

Madame Butterfly — The famous romance of the 
little Japanese girl and the .American naval officer 
again comes to its tragic ending, in an excellent pro- 
duction — with Sylvia Sidney and Cary Grant as the 
lovers (Par.). 

The Match King — A fast-paced expos6 of the cruel 
cleverness of a bluffer who talked in millions and 
hoodwinked whole nations. .Another smooth por- 
trayal by Warren William, aided by Lili Damita 
(F. N.). 

The Monkey's Paw — ^Whoever owns this talisman 
will be granted three wishes, but each will be accom- 
panied by disaster. A horror tale that shapes up 
well, except for an ending that lets you down. It 
features Bramwell Fletcher and C. Aubrey Smith 
(RKO). 

The Mummy — Boris Karloff, in one of his weirdest 
make-ups, rises from an Egyptian tomb and seeks 
the reincarnation of the girl for whom he died, ages 
ago. More romantic and less chilling than the usual 
Karloff epic (Univ.). 

The Mystery of the Wax Museum — A dead girl 
disappears, and later her image is seen in a wax 
museum owned by a hideous madman (Lionel 
Atwill). Then a live girl vanishes — and, well, you 
come out of the theatre with a spine like an icicle 
(W. B.). 

No Man of Her Own — Clark Gable, as a suave city 
gambler, retreats to the country, where he surprises 
himself by falling in love with the small-town belle 
(Carole Lombard). .Amusing and warmish (Par.). 

No Other Woman — When wealth comes along, 
Charles Bickford thinks he wants to marry Gwili 
Andre, but Irene Dunne refuses to divorce him — 
and, in the end, he's glad. Little suspense, but a fine 
performance by Irene (RKO). 



The Parachute Jumper — Douglas Fairbanks, Jr., 
plays an ex-stunt flier who can't find work except 
with a gangster. .\ bit far-fetched, but amusing 
comedy-melodrama just the same (W. B.). 

Rasputin and the Empress— Lionel Barryniore as 
the Mai Monk, Ethel Barrymore as the Czarina, 
and John Barrymore as Prince Paul, the royal 
avenger, give you your money's worth' of acting in a 
vivid, crowded melodrama about the rise of a 
peasant and the downfall of a czar (M-G-M). 

Rome Express — Some suspenseful happenings 
board a train bound from Paris to Rome, involving 
Conrad Veidt and Esther Ralston, among others. 
On the order of "Shanghai Express," but more 
realistic (Univ.). 

The Savage Girl — Rochelle Hudson gives a feminine 
version of Tarzan, with Walter Byron as the ex- 
plorer who teaches her love. Not much (Monogram). 

Second-Hand Wife — Ralph Bellamy divorces his 
wife to marrj- Sally Filers, and Sally has a bit of 
difficulty foiling the first wife's plots to get him 
back. Just skims the surface of emotions (Fox). 

The Sign of the Cross — Cecil De Mille goes spec- 
tacular again, and retells the story of the downfall 
of Rome and the rise of Christianity — with notable 
help from Charles Laughton, Claudette Colbert, 
Fredric March and Elissa Landi. Worth your time 
(Par.). 

The Son-Daughter — Helen Hayes again runs into 
tragedy as a Chinatown belle auctioned off to the 
highest bidder, though in love with Ramon Novarro. 
It lacks reality, but Helen may stir up your emo- 
tions despite that (M-G-M). 




Lionel, John and Ethel Barrymore 

make "Rasputin and the Empress" 

a melodrama that you'll remember 



So This Is Africa — Wheeler and Woolsey invade 
the Dark Continent and, figuratively, kid the knee 
pants right off the dude explorers. Raquel Torres re- 
places Dorothy Lee as their girl-friend. Bursting 
with wisecracks — if you like wisecracks (Col.). 

Strange Interlude — An abbreviated version of 
Eugene O'Neill's lengthy study of an idealist who let 
life cheat her of real happiness — with Norma 
Shearer and Clark Gable as the frustrated lovers. 
Told slowly, but in novel fashion (M-G-M). 

They Just Had to Get Married — Zasu Pitts is 
starred at last, in a feature-length comedy with 
Slim Summerville, who's another excellent comic. 
It's a little silly, yet they'll probably make you 
laugh (Univ.). 

Tonight Is Ours — Claudette Colbert, as a gay 
Princess, and Fredric March, as a romantic com- 
moner, do their best by a light and frothy fantasy. 
A sparkling team in a trifling story (Par.). 

20,000 "Vears in Sing Sing — Now you learn about 
the other side of prison life — the square deal that 
Sing Sing prisoners get, and sometimes abuse. Per- 
suasive melodrama, with Spencer Tracy memorable 
as a convict (F. N.). 

The Vampire Bat — Mysterious murders in a Ger- 
man village, which the villagers believe were com- 
mitted by a vampire bat, provide considerable 
suspense — well-executed by Lionel -Atwill, Fay Wray 
and Melvyn Douglas (Majestic). 

Whistling in the Dark — .A hilarious comedy- 
thriller, in which Ernest Truex, newcomer from 
Broadway, is a writer of mystery stories and is 
kidnaped by gangsters to think up "the perfect 
crime" for them. A refreshing novelty (M-G-M). 



What the STARS are Doing 

AND WHERE THEY MAY BE FOUND 



\rlen, Richard — playing in / Cover the Waterfront 
■'*• — United Artists Studios. 1041 N. Formosa Ave., 
Hollywood, Cal. 

Arliss, George — playing in The Adopted Father — 
Warner Bros. Studios, Burbank. Cal. 

Armstrong, Robert — recently completed King 
Kong — Radio Pictures Studios, 780 Gower St., 
Hollywood. Cal. 

Astor, Mary — playing in The Little Giant — First 
National Studios. Burbank. Cal. 

Ayres, Lew — latest release State Fair — Fox Stu- 
dios, 1401 N. Western .A.ve., Hollywood, Cal. 
* * * 

■Darrymore, Ethel — latest release Rasputin and the 
■'-' Empress — Metro-Goldwyn-Mayer Studios. Cul- 
ver City. Cal. 

Barrymore, John — playing in 
Reunion in Vienna. 

Barrymore, Lionel — playing in 
Sweepings — Radio Pictures Stu- 
dios. 780 Gower St., Hollywood, 
Cal. 

Barthelmess, Richard — re- 
cently completed Central Airport — 
First National Studios, Burbank, 
Cal. 

Baxter, Warner — recently com- 
pleted Dangerously Yours — Fox 
Studios. 1401 N. Western .-^ve., 
Hollywood. Cal. 

Beatty, Clyde — recently com- 
pleted The Big Cage — Universal 
Studios. Universal City. Cal. 

Beery, Noah — recently com- 
pleted -SV;^; Done Him Wrong — Para- 
mount Studios. 5451 Marathon 
St., Hollywood. Cal. 

Beery, Wallace — playing in 
Soviet — Metro - Goldwyn - Mayer 
Studios. Culver City. Cal. 

Bellamy, Ralph — playing in 
Beneath the Sea — Columbia Pic- 
tures Studios. 1438 Gower St., 
Hollywood, Cal. 

Bennett, Constance — recently 
completed Our Betters — Radio Pic- 
tures Studios. 780 Gower St., Hol- 
lywood. Cal. 

Bennett, Joan — latest release 
Me and My Cal — Fox Studios. 1401 
N. Western .Ave.. Hollywood. Cal. 

Birell, Tala — recently com- 
pleted Nagana — Universal Studios. 
Universal City. Cal. 

Blondell, Joan — recently com- 
pleted Broadway Bad — Fox Studios. 
1401 N. Western Ave.. Hollywood, 
Cal. 

Boles, John — playing in My 
Lips Betray — Fox Studios. 1401 N. 
Western Ave.. Hollywood. Cal. 

Bow, Clara — latest release Call 
Her Savage — Fox Studios. 1401 N. 
Western -Ave.. Hollywood. Cal. 

Brent, George — playing in Lilly 
Turnei — Warner Bros. Studios, 
Burbank, Cal. 

Brian, Mary — recently com- 
pleted Girl Missing — Warner Bros. 
Studios. Burbank, Cal. 

Brook, Clive — latest release 
Cavalcade — Fox Studios, 1401 N. 
Western .Ave., Hollywood, Cal. 

Brown, Joe E. — playing in 
Elmer, the Great — First National 
Studios. Burbank. Cal. 

Brown, Tom — recently com- 
pleted Destination Unknown — Uni- 
versal Studios, Universal City, Cal. 



By MARION MARTONE 



Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 

Crawford, Joan — playing in Today We Live — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



■pjamita, Lili — latest release The Match King — 
■'-' First National Studios. Burbank, Cal. 

Daniels, Bebe — playing in Hard Times Square — 
First National Studios, Burbank; Cal. 

Davis, Bette — playing in The Adopted Father — 
Warner Bros. Studios. Burbank. Cal. 

Dix, Richard — playing in Thf Great Jasper — Ra- 
dio Pictures Studios. 780 Gower St.. Hollywood. Cal. 
I Douglas, Melvyn — recently completed Nagana — 
Universal Studios, Universal City, Cal. 




Clark Gable and Helen Hayes, who co-star in "The Wh 
went to the opening of "Cavalcade" together. But — don 
Mrs. Gable and Helen's hubby, Chas. MacArthur, went 



Farrell, Charles — latest release Tess of the Storm 

Country — Fox Studios. 1401 N. Western .Ave.. Holly- 
wood. Cal. 

Farrell, Glenda — playing in The Mayor of Hell — 
Warner Bros. Studios, Burbank, Cal. 

Foster, Norman — latest release Stale Fair — Fox 
Studios, 1401 N. Western .Ave., Hollywood, Cal. 

Francis, Kay — recently completed The Keyhole — 
Warner Bros. Studios, Burbank. Cal. 
* * * 

/^able, Clark— playing in The While Sistei — 
^-^ Metro-Goldwyn-Mayer Studios. Culver City. Cal. 
Gaynor, Janet — playing in Adorable — Fox 
Studios, 1401 N. Western .Ave., Hollywood. Cal. 
Gilbert, John — playing in Rivets — Metro-Gold- 
wyn-Mayer Studios, Culver City, 
Cal. 

Grant, Gary — playing in The 
Woman .Accused — Paramount Stu- 
dios. 5451 Marathon St., Holly- 
wood, Cal. 

Grant, Lawrence — recently 
completed Clear All Wires — Metro- 
Goldwyn-Mayer Studios, Culver 
City, Cal. 

* * * 

TJaines, William — latest release 
■*-'■ Fast Lije — Metro-Goldwyn- 
Mayer Studios, Culver City, Cal. 

Hamilton, Neil — playing in 
The Sill; Express — Warner Bros. 
Studios. Burbank, Cal. 

Harding, Ann^ — playing in De- 
classe — Radio Pictures Studios, 780 
Gower St.. Hollywood. Cal. 

Harlow, Jean — playing inBomlj- 
shell — Metro-Goldwyn-Mayer Stu- 
dios. Culver City. Cal. 

Hayes, Helen — playing in The 
While Sister — Metro - Goldwyn - 
Mayer Studios. Culver City. Cal. 

Hepburn, Katharine — playing 
in The Great Desire — Radio Pictures 
Studios, 780 Gower St.. Hollywood, 
Cal. 

Hersholt, Jean — recently com- 
pleted The Crime of the Century — 
Paramount Studios. 5451 Marathon 
St.. Hollywood. Cal. 

Holmes, Phillips — recently 

completed What Women Give — 
Metro-Goldwyn-Mayer Studios. 
Culver City. Cal. 

Holt, Jack — playing in Fet'er — 
Columbia Pictures Studios. 1438 
Gower St., Hollywood, Cal. 

Hopkins, Miriam — playing in 
The Story of Temple Drake — Para- 
mount Studios. 5451 Marathon St.. 
Hollywood. Cal. 

Howard, Leslie — recently com- 
pleted .'Secrets — United .Artists Stu- 
dios. 1041 N. Formosa Ave., Holly- 
wood. Cal. 

Huston, Walter — playing in 
Gabriel Over the White House — Me- 
tro-Goldwyn-Mayer Studios, Cul- 
ver City, Cal. 

Hyams, Leila — recently com- 
pleted .iuction In Souls — Tiffany 
Studios. 4516 Sunset Blvd., Holly- 
wood. Cal. 



^ 



ite Sister," 
't worry! — 
along, too! 



/^agney, James — playing in The Mayor of Hell — 
^-^ Warner Bros. Studios. Burbank, Cal. 

Chatterton, Ruth — playing in Lilly Turner — 
Warner Bros. Studios. Burbank, Cal. 

Chevalier, Maurice — playing in .4 Bedtime Story — 
Paramount Studios. 5451 Marathon St., HoUywd, Cal. 

Clarke, Mae — playing, in Parole Girl — Columbia 
Pictures Studios. 1438 Gower St., Hollywood, Cal. 

Colbert, Claudette — playing in / Cover the Watcr- 
fronl — United -Artists Studios, 1041 N. Formosa Ave., 
Hollywood. Cal. 

Colman, Ronald — recently completed The Mas- 
querader — United Artists Studios, 1041 N. Formosa 
.Ave.. Hollywood, Cal. 

Cooper, Gary — playing in Today WeLive — Metro- 
Goldwyn-Mayer Studios, Culver City, Cal. 

Cooper, Jackie — playing in Lost — Metro-Gold- 
wyn-Mayer Studios. Culver City, Cal. 

Cortez, Ricardo — playing in Dead Reckoning — 



Dressier, Marie — playing in Tugboat Annie — 
Metro-Goldwyn-Mayer Studios. Culver City. Cal. 

Dunn, James — playing in Sailors Luck — Fox 
Studios. 1401 N. Western Ave.. Hollywood, Cal. 

Dunne, Irene — playing in NoGieotei'Lcrve — Radio 
Pictures Studios. 780 Gower St.. Hollywood. Cal. 

Durante, Jimmy — playing in What! No Beer? — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



Eilers, Sally — playing in Sailors Luck — Foxl Stu- 
dios. 1401 N. Western .Ave.. Hollywood. Cal. 
Erwin, Stuart — recently completed The Crime of 
the Century — Paramount Studios. 5451 Marathon St., 
Hollywood. Cal. 

Evans, Madge — recently completed Pig Boats — 
Metro-Goldwyn-Mayer Studios. Culver City, Cal. 



Fairbanks, Douglas, Jr. — playing in Narrow 
Corner — First National Studios, ISurbank, Cal. 



Jolson, Al — recently completed 
Hallelujah, Vm a Bum — United 
Artists Studios. 1041 N. Formosa 
Ave., Hollywood, Cal. 



Karloft, Boris — playing in The Invisible Man — 
Universal Studios. Universal City. Cal. 

Kennedy, Merna — recently completed Laughter 
In Hell — Universal Studios. Universal City. Cal. 

Keeler, Ruby — recently completed ilnd Street — 
First National Studios. Burbank. Cal. 

Kibbee, Guy — playing in The Silk Express — 
Warner Bros. Studios, Burbank, Cal. 

Knapp, Evalyn — -recently completed Slate Troop- 
ei — Columbia Picture Studios, 1438 Gower St., 
Hollywood, Cal. 

Keaton, Buster — playing in What! No Beer? — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



Landi, Elissa — recently completed The" Masqiier- 
ader — United Artists Studios. 1041 N. Formosa 
Ave.. Hollywood. Cal. 

(Continued-on page is) 



♦ Letters to your favorites may be sent to the studio addresses given here ♦ 



10 



You against the Rest of Womankind 
your Beauty • • your Charm • • your Skin! 




Of course, you can mask your thoughts, your 
feehngs. But you cannot mask your skin. It 
is there for all to see ... to flatter or criticize, 
to admire or deplore. In the Beauty Contest 
of life, in keen rivalry with other women, 
it's the girl with flawless skin who wins. 

THE SOAP OF BEAUTIFUL WOMEN 

Your complexion at its radiant best is a 
glorious weapon that can help you conquer. 
And Camay, the Soap of Beautiful Women, 



is your skin's best friend. Camay is mild, 
pure, safe. Made of delicate oils for delicate 
skins. And what a rich, copious lather it 
gives, even in hard water! 

THE PRICE IS DOWN 

Camay, in its gay new dress, is the out- 
standing beauty value of the hour that wo- 
men are flocking to buy. Never has a soap 
so fine sold at a price so low! Get a dozen 
cakes today! 



Alone, your looks may not seem so 
important to you. But when you must 
hold your own, in competition with 
other women, you realize that life is 
a Beauty Contest. Someone's eyes are 
forever searching your face, compar- 
ing you with other women, judging 
the beauty of your skin. 




• To have a skin of clear, natural love- 
liness, apply a lather of Camay and 
warm water to your face twice a day. 
Rinse thoroughly with cold water. 




• Pure, creamy-white Camay is the 
safe beauty soap for the feminine skin. 
You'll find Camay's rich, luxuriant 
lather delightful in your bath, as we 111 



Copr. 1933, Procter & Gamble Co. 



CAMAY 



THE SOAP OF BEAUTIFUL WOMEN 



11 



Mov 



Circus 



Frank Morley 



«»#"^ 




©Keystone 



Motion Picture presents the greatest show on earth— 
the intimate goings-on of the stars at work and play 



FIRST place this month we award to 
none other than Mickey Mouse. Sweep- 
ingly, the Mick has ended all this discussion 
as to the ten most beautiful words in the 
English language. "Those ten words are," 
according to M. Mouse, "as follows: Roque- 
fort, Tillamock, Cheddar, Stilton, Edam, 
Limburger, Camembert, Brie, Liederkranz 
and Gorgonzola." 

CLOSE upon the tail of our rodent 
friend, however, comes the selection of 
the silent master, Harpo Marx. Harpo 
breaks his quiet with these ten as his prefer- 
ence: hello, loco, studio, scenario, lingo, 
presto, ego, gusto, hero and blotto. 

HARPO'S pal, Jimmy Durante, has a 
streak of sentimentality, of which we 
think you should know. Witness the sus- 
taining note he sent to Norman Taurog upon 
that worthy's being given the assignment to 
direct the new Chevalier film. Taurog's last 
job, it will be recalled, w'as handling Jimmy 
in "The Phantom President." 

Jimmy's note ran: "Sorry to hear that 
you are going to direct Chevalier. It's an 
awful drop — from Durante to Chevalier. 
Well, you can't stay up all the time. Yours 
in regret. Mr. Jimmy Durante." 

JIMMY has been having troubles of his 
own, how'ever. The first day he worked 
in his new comedy with Buster Keaton, he 
had to stuff a salt fish in a taxidermist shop. 
"And now wherever I go, I smell of herring!" 
he screams. "It has destroyed my social 
prestige somethin' awful, because nothin' 
has less social prestige than a herring." 

ANOTHER comedian we like lots is 

l\ Mrs. Tracy's boy, Lee. Lee has just 
done a war picture "Private Jones," and 
it so happened that a part of the costume 
issued him was a pair of creaky Army shoes. 
Noting the squeaks whenever Lee walked 
across the scene. Director Russell Mack 



12 



inquired what was making the noise. 
"Just a new note in footwear," Lee 
Tracyed him. 

TRACY was a bit of a trial to Mack. 
Arriving on the "No-Man's-Land" set, 
he looked over the long line of trenches with 
a dubious expression. "Are these left over 
from 'All Quiet'?" he wanted to know. 

"Oh no — all these were re-made for our 
picture." 

"I get it ... a depression set, eh?" 

Mack looked puzzled. 

"Retrenchment," Tracy explained, and 
wisely ducked for safety. 

MAYBE it's the new year or some- 
thing, but e\ en Jackie Cooper is get- 
ting that way about puns. During a ride 
out to the studio, he noticed an office sign 
reading "Real Estate Broker." 

"\\^hat's a broker, Mumsy?" he asked. 

"A man who buys and sells things," Mrs. 
Cooper explained. 

"Oh," remarked Jackie, "I thought may- 
be he was a guy who made people broke." 
Out of the mouths of babes, my fellows! 

YOUNG Mr. Robert Young, like 
young Mr. Cooper, it would seem, keeps 
up with the times. Bob found his new car 
using too much gas. Asked why he had 
ceased to use it, the depression-wise youth 
answered: "I left it at the garage to get 
weaned." 

MOST of the picture folk are far 
more careful financially than they 
used to be. Naturally, there will always be 
exceptions — such as the open-hearted and 



Jeanette MacDonald writes from abroad, 
"Captain likes the Riviera" — Captain be- 
ing her huge sheep dog. And so does 
Jeanette, who's staying in Europe to make 
a concert tour and then a movie or two 



free-handed IMarie Dressier. Returning from 
N-ew York, Marie made a remark that does 
much to explain why she spends as much 
money as she does. "This time I went there 
with a retinue — anyway, a secretary and a 
maid. Ev^ery other time I arrived in New 
York, all I had w'as a cinder in my eye." 

MARIE may be careless with her 
cash, but there is one man in Holly- 
wood who is a whole lot more careless with 
his life — and that's the wild-animal trainer, 
Clyde Beatt>-, who is making animal pic- 
tures for Uni\'ersal. 

Beatty has been attacked many times by 
the forty-four animals in his troupe, so we 
got a laugh the other evening at a party 
where a bufTet supper w'as being served in 
the dining room. The host approached 
Clyde soon after he appeared and said: 
"Clyde, go in the next room and have a 
bite." 

AND a little later, to show you that 

1\ Hollywood does things in its own cute 
way, this fearless handler of savage beasts, 
this skilled trainer of ferocious lions 'n' 
tigers, went home with a long gash in his 
thumb from the teeth of the host's eight- 
months-old Scottie puppy! 

BUT Beatty isn't the man who is do- 
ing the crabbing during the making of 
his "The Big Cage." The fellow with the 
squawk is Bob Murdock, Universal's prop- 
erty man. "How is it," Bob demands hotly, 
"that when an elephant is satisfied with a 
peanut, I have to spend the da>' chopping 
750 pounds of meat for a bunch of growling 
cats?" 

MR. MURDOCK should remember 
that you can't tell much from size. 
Do you know who it is that Hollywood con- 
siders among the top flight of its ]\Ien-Most- 
Successful-Among-the-Ladies? No, it's not a 
{Continued on page g>4) 



Inaugurating^ NEW DEAL in ENTERTAINMENT! . . . . 






WARNER BROS, set the pace with the ENTER- 
TAINMENT MIRACLE of 1933 -"42nd Street". . . 
Super-drama — super-spectaclel Two mighty 
shows in onel . . .Gripping story of playgirls and 
payboys . . . Packed with love-thrills and won- 
derful music . . . Gorgeous pageant of beauty 
- pulsating with passionate rhythm . . . Filled 
with surprises! . . . The Greatest Show of 19331 



-^i 



iV. 












I 



WARNER BROSL Sensational Musical Hit! 

Coming to your theatre soon . . . Don't miss it — it's going to be the most lalked-about picture of the year 



14 STARS 

WARNER BAXTER 
BEBE BANIELS 
GEORGE BRENT 
RUBYKEELER 
UNA MERKEL 
DICK POWELL 
GINGER ROGERS 
GUY KIBBEE 
NED SPARKS 
GEORGE E.STONE 
EDDIE NUGENT 
ALLEN JENKINS 
ROBERT McWABE 
H. B. WALTHALL 

and 

200 GIRLS 

Directed by LLOYD BACON 



13 



Your Gossip Test 




By Marion Martone 



I. How good are you at identifying 8. Who is the iilm star whose jewels, 
the two movie personahties pic- which were daringly taken from her 
tured above? in her own home, were returned to 

her? 



2. Can you name the movie actor 
whose recent marriage lasted less 
than three months? 



3. Who is to be credited with hav- 
ing started the new Hollywood fad 
of women wearing men's clothes? 

4. What well-known blues singer 
was wed to a Municipal Court Jus- 
tice recently? 

5. The once-famous brother of 
which motion picture star died re- 
cently? 

6. Who are the latest Hollywood 
couple to be visited by the stork? 

13. W'ho are the two motion picture 

7. Do you know what movie mar- stars who have been busy denying 
riage, once said to be a real love divorce rumors circulated about 
match, has hit the rocks? them? 



9. Do you know why Thelma 
Todd's name was removed from the 
cast of "Love Birds," the Slim 
Summerville-Zasu Pitts comedy? 

10. Why was Mitzi Green's father 
fined $50.00 for permitting his 
daughter to appear on the vaudeville 
stage? 

11. Can you name the retired mo- 
tion picture actress who filed a 
bankruptcy plea recently? 

12. How was the divorce of a cer- 
tain screen comedian settled, in view 
of the fact that both parties de- 
manded the divorce? 



14. Did you hear about how the 
baby for Maurice Chevalier's new 
picture, "A Bedtime Story," was 
selected? 

15. Do you know the motion pic- 
ture executive who has been seriously 

ill? 

16. Has Anita Page's screen con- 
tract been renewed by Metro-Gold- 
wyn-]Mayer? 

17. Now that the romance between 
Dorothy Jordan and Don Dilloway 
is definitely over, who has taken 
Don's place? 

18. Who has earned for herself the 
title of "Hollywood's Most Beauti- 
ful Pinch Hitter"? 

19. One of Hollywood's prettiest 
blondes wore a red wig when she 
made her marital vows. Who is she? 

20. Are you familiar with the pop- 
ular screen star who is planning to 
appear on the concert stage shortly? 

{Answers to these questions on page pj) 



Hollywood Knows The Answers To These Questions — Do You? 



14 



What the Stars Are Doing 

(Continncd from page lo) 

Laughton, Charles — latest release Island of Losl 
Souls — Paramount Studios, 5451 Marathon St., 
Hollywood. Cal. 

Lightner, Winnie — recently completed She Had 
To Say Yes — First National Studios. Burbank. Cal. 

Lombard, Carole — playing in From Hell to 
Heaven — Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 

Loy, Myrna — playin? in Man on the Nile — 
Metro-Goldwyn-Mayer Studios. Culver City, Cal. 

Lukas, Paul — playing in The Kiss Before the 
Mirror — Universal Studios. Universal City, Cal. 



IV/farch, Fredric — playing in The Eagle and the 
-'■'•'■ Hawk — Paramount Studios, 5451 Marathon 
St.. Hollywood, Cal. 

Merkel, Una — playing in Clear All Wires — Metro- 
Goldwyn-Mayer Studios. Culver City, Cal. 

Mjljan, John — playing in What! \o 'Beer? — 
Metro-Goldwyn-Mayer Studios. Culver City, Cal. 

Moore, Colleen — playing in Lost — Metro-Gold- 
wyn-Mayer Studios. Culver City. Cal. 

Morley, Karen — playing inCahriel Over the While 
House — Metro-Goldwyn-Mayer Studios, Culver City, 
Cal. 



"VTagel, Conrad — recently completed Auclion In 
-^^ Souls — Tiffany Studios, 4516 Sunset Blvd., 
Hollywood, Cal. 

Nixon, Marion — playing in 5 Cents a Glass — Fo.x 
Studios. 1401 N. Western Ave., Hollywood, Cal. 

Novarro, Ramon — playing in Man on the Nile — 
Metro-Goldwyn-Mayer Studios. Culver City. Cal. 

Nugent, Edward J. — recently completed 42nd 
Street — First National Studios, Burbank, Cal. 



Oakie, Jack — playing in From Hell lo Heaven — 
Paramount Studios, 5451 Marathon St., Holly- 
wood, Cal. 

* * * 

"pichel, Irving — playing in The Woman Accused — 
-^ Paramount Studios, 5451 Marathon St., Holly- 
wood. Cal. 

Pickford, Mary — recently completed Secrets — 
United Artists Studios, 1041 No. Formosa Ave., 
Hollywood, Cal. 

Powell, William — playing in Private Detective — 
Warner Bros. Studios. Burbank. Cal. 

Prevost, Marie — playing in Parole Girl — Columbia 
Pictures Studio, 1438 Gower St., Hollywood, Cal. 



Raft, George — playing in Pick Up — Paramount 
Studios, 5451 Marathon St., Hollywood, Cal. 

Raymond, Gene — playing in Zoo In Budapest — 
Fox Studios, 1401 N. VVestern .'\ve., Hollywood, Cal. 

Robinson, Edward G. — playing in Big Shot — 
First National Studios. Burbank. Cal. 

Rogers, Will — latest release Stale Fair — Fox 
Studios. 1401 N. Western Ave., Hollywood, Cal. 

Ruggles, Charles — playing in Murder at IheZoo — 
Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 



Ocott, Randolph — playing in Murders at the Zoo — 
^ Paramount Studios, 5451 Marathon St., Holly- 
wood. Cal. 

Shannon, Peggy — recently completed Girl Miss- 
ing — Warner Bros. Studios. Burbank, Cal. 

Shearer, Norma — latest release .Sm/V/n' Through — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 

Sidney, Sylvia — playing in Pick Up — Paramount 
Studios. 5451 Marathon St.. Hollywood. Cal. 

Stanwyck, Barbara — recently completed Baby 
Face — Warner Bros. Studios. Burbank. Cal. 

Stone, Lewis — playing in The While Sister — 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 

Stuart, Gloria — playing in The Kiss Before the 
Mirror — Universal Studios, Universal City, Cal. 



'T'albot, Lyle — recently completed She Had to Say 

*■ Yes — First National Studios. Burbank, Cal. 

Toomey, Regis — recently completed She Had To 
Say Yes — First National Studios. Burbank, Cal. 

Tracy, Lee — playing in Clear All Wires — Metro- 
Goldwyn-Mayer Studios. Culver City, Cal. 

Twelvetrees, Helen — playing in A Bedtime Story — 
Paramount Studios, 5451 Marathon St., Hollywood, 
Cal. 



J'elez, Lupe — latest release Hot Pepper — Fox 
Studios, 1401 N, Western Ave., Hollywood, Cal. 



ATyaithall, Henry B. — recently completed 42nd 
^^ Street — First National Studios, Burbank, Cal. 

West, Mae — recently completed 5/;^ Done Him 
Wrong — Paramount Studios, 5451 Marathon St., 
Hollywood, Cal. 

White, Alice — recently completed Picture Snatch- 
er — Warner Bros. Studios. Burbank, Cal. 

Wray, Fay — playing in Beneath the Sea — Columbia 
Pictures Studios. 1438 Gower St., Hollywood, Cal. 

Wynyard, Diana — playing in Reunion In Vienna 
^Metro-Goldwyn-Mayer Studios, Culver City. Cal. 



Voung, Loretta — playing in Zoo In Budapest — 
■*■ Fox Studios. 1401 N. Western Ave., Hollywood.Cal. 
Young, Robert — playing in Today We Live— 
Metro-Goldwyn-Mayer Studios, Culver City, Cal. 



"SCRAP OLD IDEAS ABOUT DIETING 

sugar helps you reduce!" 

SYLVIA 




SAYS 



World's joremost authority on 
the care of the feminine figure 



MME. SYLVl.V 



Or 



'nee in a great while I find it 
harder to rid a Hollywood star 
of a silly idea than to banish a 
brace of extra chins. And the 
silliest idea of them all is the 
idea that sugar has no place in 
a reducing diet. 

But thank goodness, my clients 
usually listen to me when I tell 
them that there is a certain 
"sugar secret" which %vill actu- 
ally help them reduce faster. I 
am going to give you thaf'sugar 
secret" here. But first I want 
you to read my three simple 
slenderizing commandments. 

first: Get sufficient exercise. 
Walk at least two miles a day 
in the open air. 

second: Shun fat, rich foods, 
gravies or sauces— and iy all 
means liquor! 

third: Now get this right — 
don't starve yourself on sugar! 

Why you reduce FASTER 
with my "sugar secret" 

Sugar is the one food element 
that most quickly and safely 
melts away body fats. Why? 
Because fats are fuel . . . sugar 
is the flame. Late dietetic dis- 
coveries prove that. You actu- 
ally lose that excess poundage 
faster with the right sweet at 
the right time . . . But 
what is the best sweet 
for slenderizing? That's 
the secret . . . and its 
name is "Life Savers." 



IF YOU MEAN BUSINESS SEND 



MADAME SYLVIA, c/o Life Savers, Inc. 
Dept. MP-4-33, Port Chester, N. Y. 

Certainly I mean business. Attached are wrappers 
from two packages of Life Savers. Please mail me 
your booklet of diet and exercise instructions. (If 
you live outside the U. S. A. and possessions, or 
Canada, include 10^ to cover mailing.) This offer 
expires December 31, 1933. 



I prescribe Life Savers to all 
my clients, because they are the 
purposeful candy for reducing. 

In the first place, Life Savers 
give quickly assimilated sugar 
energy— without a lot of fat- 
building bulk. Being hard, they 
dissolve slowly and dehciously 
on the tongue, thoroughly satis- 
fying the normal hunger for 
sugar. Slip one on your tongue 
as often as you have that sweets 
hunger— aMd don't worry about 
putting on weight! 

Let's Not Fiddle Around! 

I'm in earnest about this reduc- 
ing business . . . Prove that you 
are, and I'll make you a won- 
derful gift. This gift is a book- 
let that sums up information I 
usually get hundreds of dollars 
for. Buy two packages of Life 
Savers and send me the two 
wrappers with the coupon be- 
low . . . and my book comes to 
you free. 



'IC- 



There are many enticing kinds 
of Life Savers . . . the new 
Spear-0-mint . . . Pep-0-mint 
. . . Wint-0-green . . . Cryst-0- 
mint . . . Cl-O-ve . . . Lic-0-rice 
. . . Cinn-0-mon . . . Vi-O-let 
. . . and the fruit drops . . . 
Lemon, Orange, Lime aiid Grape. 




Claudette Colbert, 
Beautiful Paramount 
star now featured in 
"The Sign of the Cross." 




THIS COUPON 



Nan 



IF YOU DON'T; Don't! 



Address^ 



City. 



.State. 



All candy products having the distinctive shape of Life Savers are manufactured by Life Savers, Inc. 



15 



Movie Star Calendar 

Dating Them Up Through Past Events 

April, 1933 

By JOSE SCHORR 



SUN. 



MON. 



TUES. 



WED. 



THURS. 



FRI. 



SAT. 



" -as**. _ f 



n 



Spencer 
Tracy's birth- 
day is April 5 




■"•A.. 



Virginia Cher- 
rill was bom 
April 12 




Walter Hus- 
ton's birthday 
is April 6 




Wallace 
Beery's birth- 
day is April 1 




Mary Pick- 

ford's birthday 

is April 8 




Harold Lloyd's 

birthday is 

April 20 



1 



Michael Far- 
mer thinks he 
will marry 
Marilyn 

Mi ller, but 

he hasn't met 
Gloria Swan- 
son yet. (1930) 



2 3 4 5 



The New York 
courts decide 
it was no libel 
to call Doris 
Deane "Fat- 
ty Arbuckle's 
latest 1 a d V 
love." (1925) 



Lillian Gish 
and George 
.Jean Nathan 

announce that 
they will mar- 
ry soon ; but 
soon never 
comes. (1925) 



Natalie Tal- 

MADGE Ke.ATON 

arrests Buster 
for taking the 
children up in 
an airplane. 
(1932) 



Bert Lytell 

stocks up on 
more sex ap- 
peal. Has his 
nose lifted. 
(1930) 



Jury orders 
A d a m - B 1 a c k 
Co. to pa y 
.Jackie CooGAN 
6c for using 
his picture on 
their handker- 
chiefs. (1925) 



Betty Jane 
Young takes a 
cut. Changes 
her name to 
Sally Blane. 
(1929) 



Tom Mix re- 
fuses -to pay 
$3500 for his 
portrait be- 
cause there 
can't be that 
much paint in 
it. (1932; 



M A R L E N E 

Dietrich 

brings her 
trained legs to 
America. 
(1930) 



10 11 12 13 14 15 



Connie Ben- 
nett wires 
Phil Plant to 

stop playing 
and come to 
Paris or she'll 
divorce him. 
(1928) 



Ina Claire is 

off to Holly- 
wood where 
she'll marry 
John Gilbert 
though she 
doesn't know 
it yet. (1929) 



Norma Tal- 
ma dge beats 
Fannie Hurst 

by two. She 
and hubby 
live in/oMT sep- 
arate apart- 
ments. (1928j 



J E A N E T T E 
M ACDONALD 

plans to save 
commi ssions 
and wed mana- 
g e r , Bob 

I{ 1 T c H I E . 

(1931) 



Phyllis 
Haver is leav- 
ing the movies 
to marry a big 
food and can 
man. (1929) 



BebeDaniels 

agrees to go to 
jail for ten 
days for speed- 
ing. Her press- 
agent gets a 
raise. (1921) 



16 17 



Betty Comp- 

soN and James 
Cruze sepa- 
rate because 
he likes his 
home so much 
he never takes 
her out. (1929) 



Will Rogers 

speaks to West 
Indian diplo- 
mats; says soft 
shirts are more 
comfortable 
for evening 
wear. (1931) 




Connie Ben- 
nett wires 
Phil Plant he 

needn't come 
to Paris — she's 
having a grand 
time. (1928) 



19 20 21 22 



Connie Tal- 
madge says: 
"I'm tired of 
being a grass 
widow. The 
next man gets 
me for keeps." 
(1928) 



Dot M a c - 
KAiLL and 
Neil Miller 

get license in 
IlonoUilu but 
do not marry 
for months. 
(1931) 



Dolores Del 

Rio asks for 
divorce. "I am 
only excess 
baggage," ex- 
plains Air. Del 
Rio sadly . 
(1928) 



West Coast 
editor goes to 
jail for writing 
ungentlemanly 
things about 
Clara Bow. 
(1931) 



Joan Craw- 
ford is in a 
convent. (1914) 




Lita Grey 

C H A P L I n 

wants $1,000,- 
000 alimony 

(1927) 



24 



Sue Carol 
faints in police 
station as she 
tells of .S30,000 
jewel theft. 
Police are con- 
vinced. (1931) 




Ramon No- 
varro changes 
his name from 
Samaniegos 
because people 
call him "Sal- 
mon eggs." 
(1925) 



26 27 



Greta Gar- 
bo's friend, 
Bill Sorenson, 
hears rumor 
she will marry 
him; gets 
nervous break- 
down. (1932) 



Doug Fair- 
banks Jr. en- 
ters the mov- 
ies, but insists 
he won't kiss 
too often be- 
cause he's "got 
a girl." (1923) 




Doting Mary 
Hay B a r - 

thelmess de- 
velops tonsilli- 
tis so she can 
join Dick in 
hospital. 
(1921j 



2 



Mile. Mistin- 
guette^ begs 
KingAlphonso 
to get her 
Chevalier 
out of German 
prison camp. 
(1916) 



16 



HAVE you HEARD 
4^ OUR OPERATION? 



Read the March number of COLLEGE HUMOR and Sense 

and see this old friend with its face hfted . . . smarter, zip- 
pier, funnier than ever. But also with a touch of new so- 
briety, hot-topic campus thrills from the pens and brushes of 
such famous writers and artists as these: 



FREDERIC ARNOLD KUMMER 

LOWELL THOMAS 

O. O. MclNTYRE 

RUSSELL PATTERSON 

JOHN HELD, Jr. 

and others. And ... in keeping with the times . . . this 
big package of fun, fiction and fact, for only fifteen cents. 
Yes, that's it! A sensational new price for a magazine well- 
established in the curriculum of youth ... a price for every 
pocket-book whether Sister Sally's or the Absent-Minded 
Professor's. Costs no more than a package of cigarettes, 
three packages of gum or coffee and sinkers. 

College hHumor and Sense in its new spick and span tailoring, 

now more than ever reflects Young America, its gaiety, its 

problems, its sports and its fashions. 

The Editors. 



With 

the New March Issue 






17 




Hows YOUR BREATH 



TODAY? 



If it's had, you won't 
be welcome . . . Play 
safe. . . use Listerine 

• How's your breath today? If 

it is bad, it will keep you out 

of things ... it may mar friend- 
ship . . . kill off a romance . . . 

or jeopardize a business chance. 

Don t let it do any of these things. 
Play safe . . . use Listerine, 

every morning and night and 

before social or business con- 
tacts. Listerine instantly renders your breath 
sweet, wholesome, and agree^ible to others. It 
is the one reliable remedy for halitosis (unpleas- 
ant breath). 

Everybody Has It 

Fastidious as you may be, do not make the mis- 
take of thinking that your breath is never bad. 
Halitosis spares no one, because it springs from 
such common causes as tiny bits of fermenting 
food particles on the teeth, unhealthy teeth or 
gums, and temporary or chronic infections of 
the nose, throat, and mouth. The insidious 
thing about it is that you yourself never realize 
when you have it. 

Only Listerine Succeeds 

Only by using Listerine can you be certain that your 
breath will not offend others. Cheap, ordinary mouth 
washes fail in 12 hours to conquer odors which 
Listerine gets rid of instantly. That has been shown 
again and again by strict laboratory and clinical tests. 
Keep Listerine handy in home and office. 
Rinse the mouth with it before social and busi- 
ness engagements. It cleanses and invigorates 
the entire oral cavity and leaves you with a feel- 
ing of confidence and assurance. You know your 
breath is right. Lambert Pharmacal Company, 
St. Louis, Missouri. 

LISTERINE 

INSTANTLY ENDS WKUI OS\% ... (BAD BREATH) 

18 




■^■^v-^-l 



T^.- 



TO u" O^^^^ '"''"■ 

°^ ^^"/AheV become pretty^^^ „,\ 

about eoch oihe^ ^^^ ^^.^ a 
town ^^^^\ j, and Honey go+ 

chorus g>rl- f 
sides, Honcv'S 

m^ a ChUd o^ 
^ Manhattan 

i H ^ft-^ «' by biriV^ OS 
weU a^ 
choice! 



rf*. 



t 



VSk 



- -V'^ 



^ 



5 



i 



■P^P 







Here is a portrait to prove that Joan is just as natural on the 
screen, as she is off it. For this is the way she greets the news- 
Doper photographers in "Broadway Bad." And if you've been 
ceeping up with the papers lately, you've seen pictures of Joan 
ooking like this in real life. Only, seeing that she is on her honey- 
moon, George Barnes has been appearing in them with her! 



JOAN BLONDELL 



20 



Lon^woTth 



JAMES CAGNEY 



With a jab of his thumb over his shoulder, Jimmy points out, "She 
used to be my screen sweetie." As if you could forget! But it 
doesn't look as if they'll be teamed again right away. Sure, they 
still get along — but it has been decided that they're both too pert 
to contrast with each other. Right now, Jimmy Is making "Picture 
Snatcher" — which title fits him like a bantamweight boxing glove! 

21 




C. S. Bull 



"Buy British" Is John Bull's new slogan — and Hollywood seenns to 
think it's bully. For the studios are buying up all the best players 
that England still has. One of the latest to arrive is bright-eyed 
Benita — who is not exactly a stranger, having played opposite 
Leslie Howard in "Reserved for Ladies" (filmed abroad). Just 
off the train, she steps into "Clear All Wires," with Lee Tracy 

22 



BENITA HUME 




MAE WEST 




And while Broadway gets the hot- 
cha Velez girl, Hollywood gets Mae 
West, who is Broadway's idea of a 
daring damsel. The movies really 
captured her first for "Night After 
Night," to ploy a wisecracking 
night-club hostess (left) — but when 
she stole the picture from George 
Raft, they wouldn't let her go. For 
she's that rare kind of "find" — and 
exotic with a devastating sense of 
humor. So now she's playing Lady 
Lou (above) in "She Done Him 
Wrong" — with Cory Grant the 
not-altogether-unfortunate "Him" 



^:^. 



f 




Bachrach 



Ever since "Bird of Paradise," they've had a hard time getting Joel 
into What-the-Well-Dressed-Man-Will-Wear. They did manage to 
get a sport suit on him here — but he vetoed the idea of a shirt and 
dived into a turtle-neck sweater. He also vetoed the idea of playing 
opposite Connie Bennett in "Our Betters" — because it meant "dress- 
ing up again." He wants an outdoor story. (P. S. With La Hepburn!) 

26 



JOEL MCCREA 



Only a friend could ask a 
young widow if she thought 
she would ever marry again 
— and only with a friend 
could she be as frank and 
honest as Jean is in this 
interview. Marriage has no 
place in her immediate 
plans — but she hopes that 
some day she will again 
find romance. Meanwhile, 
the screen has all her 
affection and attention 





cc 



/ l^hall J\/[arry Jigain^'' 

Says Jean Harlow 



By James Fidler 



Wi 



'ILL you marry again?" It was a cruel ques- 
tion to put to Jean Harlow, a widow of six 
months— as cruel as the frost that kUls early 
flowers, as cruel as sorrow. But, neverthe- 
less, a question that her millions of followers wish an- 
swered — a question that Jean Harlow is glad was asked, 
that she might answer. 

"Yes. I shall marry again." 

As briefly as that, Jean stilled the tongues that have whis- 
pered that her two disappointments in marriage have disillu- 
sioned her with love. 

"Of course, I can only voice a hope; I cannot be certain that 
I shall ever marry again," she supplemented. "No human 
being can be sure of what the future holds. However, I am a 
perfectly sane, normal woman. I possess all the natural 
feminine desires and ambitions. I want a home. I want a 
husband. I want children — at least two, a boy and a girl in 
that order. 

"At present, I am wrapped up in my motion picture career. 



In that, I have more than a selfish interest; I want to be 
wealthy, but not alone for my own comfort. I am accumulating 
money in order to provide for my children, when I have them. 
"And something you may remember, and expect : When I do 
marry and children come, I shall place my home-life before my 
career. I do not mean that I shall discontinue my work in 
motion pictures; even if I should, I would find something else. 
I think every woman, married or single, should have an 
interest outside her home. [But nothing I may do after my 
babies are born will precede them in importance." 

What Will He Be Like? 

WHAT t3'pe of man will Jean wed? Will he be like her 
first husband, Charles F. McGrew, II, the wealthy 
young Chicago broker for whom she has only kind words? 
Probably not; Jean married him when she was only sixteen 
years old. "It was a hastily-agreed-upon, hastily-arranged, 
hastily-consummated marriage," she said. 
[Continued on page S<S) 

27 



Five Big Stars 



Are Retiring in 1933 

Ramon Novarro is going abroad for the next three years — to study music and make a con- 
cert tour. Ronald Colman feels the need of a two-year "breathing spell." So does Clive 
Brook, who would like to return to writing — perhaps for the rest of his life. Ruth Chatterton 
and George Brent feel that they would be "foolish" not to retire and enjoy life, now that 
they have enough to do so. And Constance Bennett, planning for 1934, feels the same way! 



BY DOROTHY MANNERS 



c 



ON STANCE 
BENNETT, 
who has 
denied so 



many "retirement" 
rumors, now an- 
nounces that it won't 
be long until she 
makes her last mo- 
tion picture! There 
are no "if' s," "but's" 
or "maybe's" about 
it. There are no loop- 
holes whereby she 
will allow herself 
"one or two pictures 
a year if I feel like 
doing them." Connie 
is quitting; she will 
be completely fin- 
ished with the 
movies at the com- 
pletion of her present RKO 
contract ! Officially, the 
contract ends in June, 
1934. But with Connie an- 
nouncing her retirement 
plans so early, Holljrwood 
gloomily feels that she may be pre- 
paring everybody for an earlier de- 
parture, like five other stars ! 

"The Masqucrader" is the last picture 
starring Ronald Colman that you will see 
for two years — or longer! 

Clive Brook is leaving the screen for a 
period as long as Colman' s — and lie may 
never return! 

The end of her contract with Warner 
Brothers will see Ruth Cliattcrton leaving 
tlie screen, and, according to a remark 
made to a close friend of Ruth's, George 
Brent is leaving with her! 

Ramon Novarro will be departi)ig any 
day now . . . his screen career completed . .. 
his whole ambition turned toward Spain 
and Italy, where he will devote his whole 
time to music for the next tliree years! 

I know it all sounds like something 
out of a press-agent's handbook — like 



?): 




"positively their final appearance" or "this is the fare- 
well tour of the great artist." How often have j'ou heard 
those phrases and laughed over them? For years, great 
names of the theatre, the musical world and the movies 
ha\e announced" farewell appearances" that have really 

amounted to a 
series of them, all 
highly lucrative at 
the box-office. Are 
any of these new 
announcements of 
this type? 

Many Plan to 

Quit, Yet Never 

Do 



Ronald Colman (above) 
craves a rest — and perhaps 
a return to the stage. Clive 
Brook (right) wants not 
only to rest, but to write. 
Ramon Novarro (below) 
wants to sing 




I 



SAW Sarah 
Bernhardt in two 
of her last three 
"farewell tours." 
Mary Pickford told 
me eight years ago 
that she was retiring 
from the screen 
with the completion 
of the picture she 
was then making. 
Gloria Swanson an- 
nounced at the 
height of her De 
]\lille fame that she 
was going to quit 
when she reached "the pinnacle of her 
film career." There have been others 
who have said it . . . and have never 
done it. But a peculiar set of condi- 
tions in the movies right now makes 
these newest and latest "retirement" 
announcements of at least five of 
Hollywood's biggest stars carry an 
authenticity that the "wolf cry" has 
never had before. 

Have you heard the latest Holly- 
wood prophecy that the day of the 
gilded Star-of-Stars is over in the 
movies? . . . and that the next era of 
Plolly wood will see the studios as giant 
stock companies, among which players 
will be traded back and forth? . . . and 




half of the old figure, with none of its privileges . . . 
any of these wiglit be the authentic reason back of 
several of these new announcements of retirement 
plans. 

Connie Has the Travel Urge 

BUT in the case of Constance Bennett, as she 
explained it to me, herself, none of these things 
lies back of her decision. At first it was diliicult for 
me to believe her when she announced so casuall\- 
over a luncheon table that she was quitting the 
screen at the end of her present contract. "Why 
should I say it if it isn't so?" inquired Connie. "It 
isn't a habit of mine to make statements that I 
don't mean. And I do mean it when I say that I 
am quitting! 

"No, it isn't that I am not happy with my con- 
tract or that I have any fears of any other contract 
{Continued on page 8i) 



that salaries will be about one-tenth 
of what they are at the present 
moment? 

There is talk that the day of the 
privileged star player, with all its 
glory and trappings, is rapidly be- 
coming a thing of the past. There is 
also talk that Hollywood producers 
are merely biding their time for 
"high-salaried contracts" to expire 
and that already they are grooming 
new stage and foreign talent to take 
the places of the former golden film 
names — the idea being that plays, 
and not players, will soon be the 
thing. Already several studios have 
discovered that the one-time "big 
names" do not draw crowds as they 
once did and that it is now necessary 
to co-star two or more of them to 
fill theatres as one of them used to 
do in "the good old daj's." 

To many big stars of the old 
regime, such a comedown from the 
caliber of stardom that they have 
known would be unbearable. Al- 
ready there have been arguments 
and debates over this "star-trading" 
from studio to studio to "bolster up" 
picture casts. 

Dissatisfaction over roles and 
billing . . . competition from new- 
comers ... a feeling that "I have 
made mine while the making was 
good — and why should I remain 
when conditions are no longer so 
happy?" ... a new contract at one- 




Ruth Chatterton (top), who set new standards of acting for the screen, says that, having 

won financial freedom, she now ^vants to enjoy it. (And that goes for George Brent, too!) 

Constance Bennett (above), though happy on the screen, thinks she (and the Marquis) 

would be even happier in "the sunny South of France" 



29 



Now! It's Maurice 




30 



CHEVALIER 

Ask Him a Question 



So 
there is 



something you 



BEFORE MARCH 20. Remember this dale. 
We have to set this deadline to have ample time 

k-i to sort the hundreds and thousands of ques- 

tne gayest tlons, and then go to Chevalier for his 

answers. You ■will find Maurice's 
answers in the June Motion 
Picture. 



MAURICE CHEVALIER has such a gay, 
friendly personahty that you feel 
that 3'ou really know him and know just 
how he would wink if asked, "Maurice, 
are you realh' the gaj' Don Juan that 
you seem on the screen?" Not, of 
course, that you would ask him 
such a question! 

But there is some ques 
tion that you would like 
to ask him— and Mo- 
tion Picture is giving 
you the chance to do so, and 
have him answer, personalty, , , . j 1 '11 1 J1 

in our pages. It may be some about him — and hell gladly 

question you have had in mind ever 



screen lover of them all? Well, 
right here and now, Motion Picture chevaiier has promised to 

^ answer any and all ques- 

gives you the chance of a lifetime! He'd 
like to know what's on your mind 



any and all ques- 
tions — except about 
his marriage or recent 
divorce. Naturally, he 
feels that these matters are 
his own private concern. 
Certain other questions are barred 
. . . by studio pohcy — questions relat- 

since you first saw that rakish straw SatlSlV VOUr CUriOSltV. K-Cad ing to his salary, his own preferences 

hat and debonair grin of his on the screen in fellow-players, and other studio "se- 

in "Innocents of Paris." Maybe you would aOOUt it and rUsh crets." Also, of course, your questions 



m 



like to know if he buys those hats by the gross. 
Or how he, himself, pronounces his name. Or if 
he studied singing, or if singing just "came natu- 
rally" to him. Or if he exaggerates his provocative 
lower lip for screen purposes. Or your curiosity about 
him — still unsatisfied, despite all the Chevalier stories you 
have read — may be centered on some "human interest" angle 
that interviewers have not yet touched upon. 

To ask Chevalier your question and to have him answer it, simply 
write your query on the coupon at the bottom of the page and mail it 
to the address indicated — making sure that it will reach us ON OR 



your 
query! 



* 



must be within the bounds of good taste — 
questions that you would not hesitate to ask him 
if you should ever actually meet him. 
On pages 56 and 57 of this issue, you will find Clark 
Gable's answers to the questions asked him by readers 
of the February Motion Picture. Read them to the end 
and discover how much they reveal about Clark. Next month, 
Constance Bennett will answer the questions that readers of the 
March Motion Picture have asked her. (And how the ques- 
tions have been rolling in!) And next month, also, you wiU have 
still another chance to have a famous star answer your question. 



INQUIRING REPORTER, 

^/b Motion Picture Magazine, 

1509 North Vine Street, Hollywood, California 

T)ear Sir: 

THE QUESTION I SHOULD LIKE TO ASK MAURICE CHEVALIER PERSONALLY 

IS THIS : 



This question is sent in hy. 



Name. 
Street_ 



City and State . 



31 



Will Ann Harding 

^ Kemarry 

^ ^st!^ Harry 

Bannister? 





Harry Bannister is now a stage producer 



For several months, Aim Harding has declined all inter- 
views and has refused to see all writers, with the exception 
of one or two whom she meets as friends, not as inter- 
viewers. Jack Grant, the author of this story, has long been 
honored by Ann's friendship. 

In quoting her here, he seeks to refute the constantly cir- 
culated reports that she and Harry Bannister are planning 
to marry again. In January, Ann told him, "I haven't the 
remotest idea at the moment that Harry and I will re- 
marry." 

We publish what Ann Harding said at 
that time, even in the face of the con- ^ • . r 
tingency that she may change her mind. 
We publish it because it is at least her last 
word ; and, certainly, it gives an accurate 
picture of the life she has led during her 
months of silence. — Editor. 



Wi 



'HY can't Harry Bannister 
and I just be friends?" Ann 
Harding asked me. "Why 
must the rumor persist that 
we plan to marry again? Why is it impos- 
sible for us to behave like normal human be- 
ings in a friendly relationship -without having 
a thousand tongues start wagging? 

"Of course, we are friends, and we hope to 
retain our friendship. We correspond with 
one another, and even talk by long-distance 
telephone when occasion arises. A man and 
a woman who have enjoyed such a happy 
marriage as Harry and I enjoyed have no 
reason to become enemies merely because of 
a divorce decree. We were divorced to pre- 
serve our friendship, and I shall do all in my 
power to preserve it. 

Marriage a Different Matter 

'ARRIAGE is another matter en- 
tirely. If the world prefers to be- 
lieve that we plan to remarry, the world has 



M- 



Long worth 



By JACK Grant 



a right to its belief. And we have a right to conduct our affairs 
as we see fit." 

There, I've done it — quoted Ann Harding for publication. 
During the past several months that Ann has refused all re- 
quests for interviews, I have respected her wish to keep out of 
public print. Upon several occasions, she has told me things 
that would have made excellent copy. But, deferring to her 
desire not to be quoted, the stories were never written. 

In the present case, however, I feel that her silence must be 

broken. Her hecklers must 
be answered if she is ever to 
be free of them. And only 
she can answer them prop- 
erly, however loath she is to 
do so. 

Unless you live in Holl_\- 
wood, you have no conception 
of the life that Ann Harding 
has led since her divorce 
from Harry Bannister. She 
has been hterally a prisoner 
in her house on the top of a 
hill — the house she andHarry 
built, once known as "the 
happiest home in Holly- 
wood." It could not be more 
of a jail to her now if every 
window were barred and the 
armed guards who stand by 
the gates were there to keep 
her in, rather than for the 
purpose of keeping unwel- 
come visitors out. 

Ann has been held prisoner 
by gossip. Her crime against 
society has been the crime of 
e.xhibiting good taste and 
avoiding publicity. 

She and her husband came 
to a parting of the ways. The 
separation was announced 




When this photo was taken, Harry Bannister 
and Ann Harding had just built their home 
where Ann now lives with their little girl 



32 



This .is the first time since 
last May, when she and Harry 
were divorced "for the sake 
of his career," that Ann has 
been quoted about what she 
thinks of the rumors that 
have toyed with their names. 
It is her answer to the gossips. 
She talked with the writer in 
January, and she was then in 
a mood to ask, "Why can't 
Harry and I just be friends? 
Why must the rumor persist 
that we plan to marry again ?" 



with dignity in the manner of well- 
mannered people. But Hollywood re- 
fused to accept the dignified announce- 
ment, that they were parting only be- 
cause, as "Ann Harding's husband," 
Harry was hampered in his career. To 
accept this explanation was to be 
cheated of a sensation — a Roman holi- 
day . And Hollywood, sensation-mad Hol- 
lywood, will not easily be turned aside. 

Two Versions 
of Break-Up 

IMMEDIATELY, 
the town was di- 
vided into two op- 
posing camps. 
Those who believed 
the separation tem- 
porary and the par- 
ticipants extremely 
foolish children, 
really deeply in love 
but willing to sacri- 
fice love to an ideal, 
allied themselves 
against another 
and larger group, 
who were equall}' 
positive that ALL 
had not been told 
and that there 
were more contrib- 
uting causes to the 
divorce than ap- 
peared on the sur- 
face. These secrets, 
of course, must be 
unearthed. No one 
has right to even 
the tiniest secret 
in Hollywood. The 
stories, supposi- 
tions, rumors flew 





Gossips anticipate that Ann Harding and Harry Bannis- 
ter are on the verge of again becoming "Hollywood's 
happiest couple" (as they were at the left). But Ann 
says that they want to remain "just friends" 



thick and fast — in print, by radio, by word-of-mouth. 

Something that had once been simple and sane 
suddenly became complex and insane to Ann and 
Harry. They had no recourse against the gossipers. 
To fight back was an obvious absurdity, the odds 
being so overwhelmingly against them. They could 
only retire from the fray to await a time when the 
Roman holiday might end. 

So Harry went away, first to London to buy a 
play, then back to New York to produce it. Ann 
remained behind, held by a studio contract that she 
could not honorably break. She sought a haven of 
solitude in her own home. "Let me remain alone," 
she requested, "until they forget about me." 

For almost a year now, she has kept to herself, 
waiting for the tumult to subside. But it hasn't 
subsided. They haven't forgotten her. To-day 
Ann's every movement is as closely scrutinized as 
ever. Ulterior motives are attributed to ever\thing 
she is known to do and many things that she is sup- 
posed to have done. She cannot be seen talking to a 
{Continued on page 82) 



33 



In any movie audience, you'll 
find all types of people. Some 
are there just to be entertained. 
Others are there because, in 
one ^vay or another, the star 
expresses their secret ideals! 



Th 



e 




Studios 

Know Your 
Secrets By The 

Favorites You Pick 



Marie Dressier appeals to practically everybody — but she's an exception. 
Most stars appeal to very definite types, and YOU are one of those types. 
If your idol is Garbo, for instance, producers can make a pretty good guess 
as to your sex, age and secret ambitions. And the same is true about your 
preference for any star. The mail they get has given studios the tip-oif 
about what kinds of people like which stars. Read this story and see if 
they're guessing right about YOU! 



IF Joan Crawford is your favorite actress and you never 
miss one of her pictures — then the studios know 
what kind of person you are. If you write letters to 
Gary Cooper or send little presents to Ramon Novarro 
— then important studio executives are paid a half-million 
dollars each year to know how your mind works and wheth- 
er or not you are a happy person. They can even tell your 
sex and your approximate age ! They know whether or not 
you have been disappointed in love, how old your children 
are, what kind of clubs attract you and whether or not you 
are interested in the Higher Things in life. (If you are, I 

34 



might add, their 
interest in you is 
pretty languid be- 
cause you don't 
do much for them 
at the boxofl&ce.) 
Each actor, you see, has his own personal audience and he is 
paid in direct proportion to its numbers and its enthusiasm. 
Whose audience, now, are youl And are the studios guessing 
right about your reasons? 

Had Jean Harlow's public been a different one, the tragic 
death of Paul Bern might have had a devastating effect upon 
her career. But Jean's audience is made up of the people who 
enjoyed her in "Hell's Angels" and "Red-Headed Woman." 
They are neither surprised nor shocked if Jean, herself, has a 
tempestuous time of it in life. They are accustomed to thinking 
of her as that sort of person. 



By Helen Louise Walker 

Illustration by Oscar Howard 




something cosmic, 
as well as comic, 
about him, an un- 
dertone of pathos. 
Once an actor 
achieves that 
cosmic qualit}-, 
nothing' can hurt 
him. Like Chaplin, 
and you show a 
sense of humor ; rave 
about him, and you 
are a sophisticate. 

They Put Ann 
on a Pedestal 



K 



T 



Women Secretly Envy Jean 

'HEY are, for the most part, repressed 
women who would enjoy a little tempest 
from time to time in their own lives — and to 
whom tempests have been denied. They are 
also men in drab jobs, with drab responsibilities — the sort of 
men who thrill a little now and then to the adventure of sneak- 
ing off with boon companions of their own type to see a bur- 
lesque show. There are also in Jean's audience intelligent — and 
therefore tolerant — people, who admire her in an impersonal 
fashion for one or two excellent performances. Nothing that 
could happen to Jean in her private life could affect the attitude 
of that portion of her audience. So long as she gives an excel- 
lent performance, those people do not care, probably do not 
bother to know, about her private life. Jean is fortunate! 

When Lita Grey Chaplin sued Charlie Chaplin for divorce 
some years ago, amid much gossip in the headlines, the wise 
boys said, "This will finish Chaplin in pictures!" But they 
reckoned without Chaplin's intelligentsia following. And the 
following of that following, if you know what I mean. It had 
been thoroughly proved and established by that time by the 
literary lights that Charlie was an Artist, even a Genius. What 
was more, he was "poignant" even in the most utter of slapstick 
situations. He could fall down in a sitting position, lose his 
pants at an Ambassadors' ball, be the bewildered recipient of 
all sorts of sticky^food in the face — and there would still be 



N N HARD- 
ING was not 
so fortunate as eith- 
er Chaplin or Jean 
Harlow. Ann's 
following was pretty 
sedate and set in its 
ways. Ann was the 
darling of the Wo- 
men's Clubs. She 
was probably in- 
vited to be guest- 
speaker at more 
gatherings of 
feminine culture- 
seekers than any 
other actress in pic- 
tures. Her follow- 
ing knew all about 
the idealistic Hedge- 
row Theatre, to 
which Ann devoted 
her youthful 
energy and enthu- 
siasm. Her follow- 
ing was the kind that would like to start Little Theatre move- 
ments in its own fair cities. It used to call up its best friend 
and say, "My dear — I'm afraid we can't play bridge with you 
this evening. That dear Ann Harding is playing down at the 
Bijou. Of course, we don't patronize the movies as a regular 
thing — but an actress like that who stands for something . . . 
who shows such lovely ideals both in her work and in her life. . ." 
Well, when "dear" Ann Harding's much-publicized domestic 
bliss suddenly exploded in their faces — and for what looked like 
pretty commercial reasons, too — those staid patrons and 
patronesses of the arts were hurt. They were downright hurt 
and disappointed, although numbers of them blamed it all on 
that awful Hollywood and retained their loyalty. "It just goes 
to show that you never can tell," they sighed to one another. 
"She looks like such a sweet thing — and so good. But . . . 
divorce . . . oh, dear!" 

Irene Dunne has much the same type of audience. And Irene 
had better continue on her wholesome, golf-playing, artistic 
way! 

The Women That Garbo Dazzles 

GARBO, despite her much-vaunted sex appeal, is exciting 
mainly to women. Even in New York, which is "a Garbo 
town" in exhibitors' parlance, it is mainly women who fill the 
theatres for a Garbo picture. Women whose lives lack glamour, 
(Continued on page 86) 



35 



COAST 
FLASHES 



Ne\vs and Gossip 



^ If It's The Latest Hollywood News You Want, 



When Franklin D. Roosevelt is inaugu- 
rated as President on March 4, a carload 
of stars will be on hand to cheer — namely, 
James Cagney, Joe E. Brown, William 
Powell, Douglas Fairbanks, Jr., George 
Brent, Warren William, Bette Davis, 
Joan Blondell and Bebe Daniels, among 
others. They'll accompany their boss. 
Jack L. Warner, friend of Roosevelt. 



AND will the Roosevelt administra- 
tion recognize Russia? If it does, 
you will see an avalanche of movies with 
Russian settings. Just to be prepared, 
M-G-M is now concocting one to co-star 
Wallace Beery and Clark Gable. 



AND Hollywood is wondering just 
Jr\. how the change in administration 
will affect the investigation of foreigners 
in the film colony, recently started by 
Murray W. Garsson, special assistant to 
Secretary of Labor Doak. Will the suc- 
cessor of Mr. Doak continue the inquiry? 
The investigation is part of the new 
Federal drive to deport aliens who are in 
the United States illegally — and was 
given impetus by the recent conviction 
of Duncan Renaldo, the young lover of 
''Trader Horn," on charges of falsely 
claiming citizenship — the government 
contending that he is a Roumanian. It is 
estimated that there are five hundred 
aliens — players, directors and writers — in 
Hollywood. Most of the better-known 
ones have permanent residence permits, 
but many others have only visitors' per- 
mits, which expire every six months and 
may not have been renewed. 



Helen Twelvetrees, back from her old 
home-town, Brooklyn, with her new baby, 
has signed up with Paramount — and will 
play opposite Chevalier in "A Bedtime 
Story." Helen says, "Certainly, I'm not 
going to refuse to have my baby photo- 
graphed. He's so beautiful, I want him 
photographed all the time." She even had 
him tested for the baby-role in the picture ! 



MAURICE CHEVALIER won his 
divorce from Yvonne \'allOe, but 
at the same time she won her divorce 
from Maurice. Both had sued in Paris for 
the decree— and, after due deliberation, 
the Paris tribunal decided that both had 
grounds for divorce. Maurice claimed 
that Yvonne was "extremely jealous," 
and Yvonne testified that Maurice "re- 
fused to live with her after his return 
from Hollywood." INIean while, JNIaurice 
is playing guardian to Marlene Dietrich 
during the few remaining weeks of her 
stay in America — with the official ap- 
proval of her husband, Rudolph Sieber. 



MARY KEEPS TO HERSELF, IN A GREAT BIG WAY 






YES, Marlene has announced her 
intention of quitting Hollywood 
with the completion of "The Song of 
Songs," which she refused to make until 
her studio started suit for $185,000. This 
climaxed a long series of quarrels over 
stories, casts and directors — and Marlene 
professes to be Tired Of It All. One 
rumor has it that she and Josef von 
Sternberg will make films together in 
Germany. But it's just a rumor. 

STARTS NEWFILM CYCLE 




In "Secrets," Mary Pickford wears a gown that covers not only the ever-youthful 

Pickford figure, but the bench on which she is sitting, as well — allowing no room for 

even Leslie Howard. It's the new year's "biggest" fashion note (to date) 



Bill Boyd is making Hollywood daredevil- 
conscious in "Lucky Devils," a thriller 
about "stunt" men in Hollywood 

SEVERAL players are following the 
lead of Marlene and Tallulah Bank- 
head in departing from the Hollywood 
scene, at least temporarily. Melvyn 
Douglas is embarking on a world cruise 
with his stage-famous wife, Helen Ga- 
hagan. Lupe \'elez has responded to the 
lure of Broadway's bright lights again to 
play in the revue, "Strike Me Pink," 
starring Jimmy Durante, who's plain 
homesick for his old stamping ground. 
Diana Wj'nyard, following the example 
of Charles Laughton, is briefly returning 
to London for a stage play. Herbert 
Marshall, who left Hollywood last De- 
cember with the same motive, is remain- 
ing abroad to co-star in an English picture 
with Jeanette MacDonald, who ig. now 
making a European concert tour. Pro- 
ducers are trying to interest Ronald Col- 
man in a Broadway play. And Helen 
Hayes, the one and only, is said to have 
an attack of footlight fever, too! 



36 



of the Studios 



LATEST 
BULLETINS 



You Are Sure To Find It In Motion Picture ^ 



THE parting of Janet Gaynor and 
Lydell Peck was announced as she 
finished "State Fair." And right upon 
the heels of this announcement came 
Lola Lane's admission that she and Lew 
Ayres (Janet's lover in the picture) had 
decided on divorce. But there is no con- 
nection between the two divorces, except 
that both \Yere caused by "differences in 
temperament." There hasn't been even 
a whisper of an off-screen romance be- 
tween Janet and Lew — and, besides, the 
Ayreses date their rift from last Novem- 
ber 5. Lola, in filing suit, claimed that 
Lew no longer cared for her and consid- 
ered marriage "a millstone around his 
neck." And it was only a few weeks ago, 
when Lola was in the East, that they 
kept the telephone wires humming — 
talking about a reconciliation! 

COUPLE MATCH NOTES 




Robert Young and Diana Wynyard — both 
recently Nominated for Stardom by 
Motion Picture — compare reac- 
tions between scenes of "Men Must Fight" 

WHEN Joan Blondell and George 
Barnes eloped, the first reports 
erroneously had it that Mr. Barnes was 
the one who wore the red wig for disguise! 
Besides the crimson thatch, Joan also 
wore black glasses. No wonder they were 
spotted! George, in e.xplaining why they 
ended the suspense just when they did, 
said, "We were going to New York, and 
passed through Phoenix. It looked like 
a good place to get married in, so we got 
off the train and were married!" 



THE long friend- 
ship of Evalyn 
Knapp and Donald 
Cook has almost 
passed from Holly- 
wood's mind lately. 
Rumor had it that it 
was "off." But it's 
very much "on." In- 
deed, they now an- 
nounce that they're 
engaged. At this rate, 
they may get married 
one of these days. 
Susan Fleming is 
wearing a huge dia- 
mond on the proper 
finger, and everyone 
is wondering if Harpo 
Marx put it there. 
Mae Clarke ditto, 
with Leon Waycoff 
being the gentleman 
in question. Lila Lee 
is wearing an even 
more blinding spark- 
ler — put there by di- 
rector George Hill. 
Lila insists that she is 
leaving the screen 
permanently, when 
she starts on her hon- 
eymoon. And John 
Wayne is all ready to 
enter into the sea of 
matrimony with 
Josephine Saenz, pretty daughter 
South American diplomat. 





POISED 



of a 



ISJIMMY"M0RTIFIED"? 




That's Betty McMahon, passing her 

camera test with A plus, and winning an 

Educational contract 

THE funeral of Jack Pickford was 
held in one of those rare Southern 
California torrential rainstorms. But de- 
spite the downpour, his old friends were 
all on hand to pay homage to the memory 
of Mary's younger brother, who was a 
star in silent days. He died at 36, of 
multiple neuritis, in Paris — in the same 
hospital where his first wife, beautiful 
Olive Thomas, died in 1920, from the 
effects of poison taken by mistake. He 
had been married and divorced twice 
since then — Marilyn Miller being his sec- 
ond wife, Mary Mulhern his third. Old- 
time moviegoers will remember him in the 
silent version of "Torn Sawyer." 



Jimmy Durante meets a "boid" in his new 
beer comedy whose schnozzle dwarfs his 
own. Both, as you see, are speechless! 



Maureen O'SuUivan, suddenly homesick, 
was credited with the desire to leave the 
screen and return to Ireland "to lead a 
normal life once more." The announce- 
ment followed closely the report that 
she and James Dunn had "broken up" 
— again. Then came a report that she 
faced deportation as an alien who had 
overstayed her permit. But reporters 
guessed wrong twice. Maureen is stay- 
ing, break-up or no break-up I 



37 



News and Gossip of the Studios 



IN "A Bill of Divorcement," Kath- 
arine Hepburn supported Billie Burke. 
Now, in "The Great Desire," Billie sup- 
ports Katharine. That's Hollywood! 

They've just arrived 




Lilian Harvey, Europe's best-known 
woman star, has just arrived to start her 
Hollywood career in "My Lips Betray" 




Lona Andre, runner-up in the Panther 
Woman contest and new Baby Star, starts 
her career in "The Mysterious Rider" 



VICTOR McLAGLEN has just taken 
out his final American citizenship 
papers. Ivan Lebedeff has just taken out 
his first. Fifi Dorsay is now an American. 
John Warburton has announced his inten- 
tion of becoming one. The new slogan, 
besides "Buy American," is "Go Amer- 



Well, and doesn't it seem good to have 
Garbo back again — even if no one knows 
just what her plans are? First, you hear 
that she is signed up for years ; then you 
hear that she is still biding her time 
about a contract. There's also a rumor 
that she is planning other surprises 
besides talking for publication. We'll 
have a surprise story about her next 
month. It's a promise. 



LILIAN HARVEY, who's gazing at 
^ the New York skyline at the left, is 
the most important European capture 
that Hollywood has made in some time. 
Here is a girl who is a star in three lan- 
guages — English, German and French. 
Born in England, she grew up in Germany 
and became Germany's foremost screen 
charmer. She has one of those gilt-edged 
contracts — three pictures a year, with a 
guarantee of three months' vacation. She 
will make her own foreign versions of her 
Fox pictures, which, she hopes, will be 
musical and gay, like "Congress Dances," 
which brought her those big offers. 
Among her many accomplishments is the 
art of walking a tight rope. There's one 
thing that Garbo can't do! 

Still another newcomer from Germany 
who is likely to add glamour to the 
Hollywood scene is Dorothea AA'ieck, who 
pla^-ed the lone sensitive teacher in 
"Maedchen in Uni- 
form." Paramount is 
the studio that won 
her — and they're hop- 
ing she'll make them 
dry their tears at 
Dietrich's departure. 

An English new- 
comer with charm 
and a fascinating 
name is Heather 
Angel, who is a good 
friend of Joan Craw- 
ford and Douglas 
Fairbanks, Jr. She 
has her work all laid 
out for her at Fox for 
several pictures, the 
first to be "House of 
Refuge." 

And last, but not 
least, another new- 
comer to the talkie 
scene is Peggy Hop- 
kins Joyce, America's 
most famous off- 
screen siren. She's to 
be in "International 
House" at Para- 
mount. Peggy con- 
fesses that her biggest 
worry about appear- 
ing on a sound stage 
is that she may find 
it a drafty place. She 
claims she isn't look- 
ing forward to any 
new romance rumors. 



ACCORDING to their close friends, 
^ the Bing Crosbys (Dixie Lee) will 
have a silver spoon to buy early this 
summer. Edward G. Robinson is rushing 
work on "The Little Giant" so that he 
can get back East in time to be with Mrs. 
Robinson (Gladys Lloyd) when old Dr. 
Stork leaves his Precious Package. The 
Herbert Marshalls (Edna Best), over in 
London, are shopping for Tiny Things. 
And all the movie couples who aren't 
"expecting" seem to be adopting. 



Some Hollywood marriages end in a 
hurry, but that of Elinor Fair (former 
wife of Bill Boyd) and John Daniels, 
young broker, shattered all records. 
They parted a few hours after their 
elopement, and just three weeks later a 
Mexican court set Elinor free again. "It 
was all a mistake." She was to have wed 
Frank Daniels, film stunt flier, but they 
had quarreled. 



AND Alice Joyce used originality in 
L suing James B. Regan, Jr., for di- 
vorce in Reno — craving her freedom be- 
cause her husband wasn't more like his 
late father, the famous host of the old 
Hotel Knickerbocker in New York. "If 
Jim had been as ambitious, how different 
things would be!" 



TOM MIX AND TONY, JR., DEPART 




Tom Mix has "sawdust fever" again, and is leaving the screen 
for the circus. Ken Maynard will replace hitn at Universal 



38 



News and Gossip of the Studios 




J§UN~ Mozelle Britton, the studio stenographer who got a screen chance, 

T7" Too-r>T-v ^^^ '* keeping her old job, too, acquires a very private sun-tan in one 
JvISSED of the ultra-violet ray cabinets at the El Mirador Hotel Palm Springs 



THESE Hollywood jewel robberies 
are certainly a new departure in 
crime. Betty Compson, after calling in 
the police when a gentleman variously 
described as "dressed in a messenger's 
uniform" and "wearing a dark gray coat 
and hat" took some $35,000 worth of 
jewelry, changed her mind and decided 
not to press the investigation. ' 'I am told 
that if I don't talk, I'll get my jewels 
back," said Betty evasively. The gag is 
that if stars who are robbed will paj' in 
cash a fifth of the value of the stolen 
goods, their property will be restored. 
But the Compson case grows "mysteri- 
ouser and mysteriouser," as Alice said in 
Wonderland. She got back her jewels 
after receiving an illiterate letter, sa3ing, 
"If you want your jewels, call at the S. P 
station with the enclosed check." Now, 
the police would like to know if Betty 
paid anything to recover them. 

And the Compson case has given at 
least a dozen scenario writers the idea of 
a movie about a screen star who was 
reaUy robbed, with police thinking it a 
pubHcity stunt. 

George Raft, too, has just been robbed 
— of $1,000 worth of clothes. 



TWELVE years ago, according to a 
startling newspaper article in a Bos- 
ton Sunday paper, a 3^oung American 
actor told an interviewer that, since 
Americans wanted foreign stuff, he was 
going to give it to them. The article 
names a well-known foreign actor as 
having fooled Hollywood for years. Pic- 
tures of the two show a certain resem- 
blance. But if any American had been 
able to give as consistent a performance 
as a foreign aristocrat as that, he would 
be the greatest actor who had ever hit 
Hollywood. You can fool some of Holly- 
wood all of the time, and all of Hollywood 
part of the time, but not all of Hollj^wood 
all of the [time. (Who was it that first 
discovered that, anyway?) 



Edwina Booth, who had the chance of a 
lifetime as the heroine of "Trader 
Horn," but has been a semi-invalid ever 
since, has just had a serious relapse. 
She is suffering from a condition brought 
on by exposure to the fierce tropical sun, 
according to doctors familiar with trop- 
ical diseases. Her return to the screen 
is problematical. 



Mary Pickford beUeves that players who 
have given most of their lives to the 
movies shouldn't be forgotten by pro- 
ducers as the years take them out of the 
leading-role class. And, in producing 
"Secrets," she has practised her beUef — 
for in the cast are such old-time favorites 
as Bessie Barriscale, Ella Hall, Flora 
Bramley, Ethel Clayton and Huntly 
Gordon. 



BUT another girl who was once seri- 
ously ill and whose return to the 
screen was problematical is now healthy 
and making rapid strides in her comeback. 
We mean Mae Clarke. She's in "As the 
Devil Commands" and in the title role of 
"Parole Girl" — and now she's scheduled 
to play opposite John Gilbert in "Rivets." 
Her chances are coming so fast she can't 
take them all. 



MINNA GOMBELL admits that 
she doesn't know much about the 
more expensive kinds of fur coats. Just 
before she went to New York recently, 
she indulged the ambition of a lifetime 
and bought a mink coat. She was per- 
fectly happy until she dropped into a 
famous Fifth Avenue fur shop to look at 
a white ermine evening wrap. 

The furrier gazed coldly at the coat she 
was wearing, felt it between his fingers 
and snorted, "Hm — weasel!" JNlinna, 
who had paid mink prices for the coat, 
was indignant. She bought the ermine 
wrap. 

\\'hen she returned to Holh'wood, her 
local furrier called her up. "How about 
the evening wrap you vere talking about 
before j'ou vent avay?" he asked. INIinna 
e.xplained that she had bought one in 
New York and would bring it in to him 
to be shortened. When she did so, she 
displayed her Fifth Avenue ermine wrap 
with a flourish. The Hollywood furrier 
sniffed, fingered a corner, and grunted, 
"Ach! — veasel!" 



Teamed FOR FIRST Time 




Longwonh 
Joan Blondell has not only a new hus- 
band (George Barnes), but a new co-star 
in "Blondie ■ Johnson" — Chester Morris 



BEFORE she departs, Marlene Diet- 
rich is giving Hollywood something 
to remember her by — namely, her mascu- 
line wardrobe. At Palm Springs recently, 
before her husband (Rudolph Sieber) 
returned to Germany, she put on a free 
show for the guests of the biggest hotel. 
She lounged on the edge of the pool in 
mascuhne attire, with eyelashes several 
inches long, it seemed, combing out her 
hair, rubbing her husband with oil, chat- 
ting with Maurice ChevaHer, and being 
{Continued on page 8j) 



39 



(4 



Sweepings 



?? 



thru Hollywood's 

This story takes you behind the scenes of Lionel Barrymore's new 
picture, in which he first appears as a youth in his twenties ! 
It gives you a close-up of Lionel at work and a panorama of a big 
picture in production— **inside" glimpses that outsiders rarely have ! 



Jack Grant 



M 



ANY emi- 
nent au- 
thors 
mutter 



Above, John 
Cromwell directs 
Gregory Ratoff in 
a rehearsal while 
the camera crew 
gets set for action 



unprintably under their 
breath when the name of 
Hollywood is mentioned. 
Their brain children, they 
say, their precious brain 
children have been 
murdered, simply 
murdered, by the 
dread scourge of the 
movies. Why, look 
what was done to . . . 

No such charge 
can be hurled at 
Hollywood by 

Lester Cohen, author of "Sweepings." 
For here is one gentleman from the 
ranks of best-selling novelists who has 
written his own screen treatment for his 
own book. If he quarrels with the com- 
pleted picture, he quarrels with himself. 

The theme that was to become 
"Sweepings" was suggested to Cohen 
when he read an old will. He was an 
editorial writer at the time and, for the 
next four years, he mulled the idea over 

40 




To see a picture like "Sweepings" through Hollywood's 
eyes is to see the drama within a drama, to realize the pains- 
taking devotion to tiny details, to feel the romance, the 
behind-the-scenes humor and pathos, the imaginative, 
tense and grueling work of acting. Seeing a picture as 
Hollywood sees it, you will find that your enjoyment will be 
keener, your appreciation of picture-making more acute. 
To give you this new pleasure, MOTION PICTURE is publish- 
ing a new series, reveal- 
ing the "inside" stories 
of big pictures in pro- 
duction. This is the 
third of the series — 
"Cavalcade" and "42nd 
Street" having preceded 
it.— Editor. 



Lionel Barrymore (standing in rear, above) has four 

children in "Sweepings," and all of them disappoint 

his hopes. Left to right, they are: William Gargan, 

Gloria Stuart, George Meeker and Eric Linden 



in his mind. He had no 
time during this period 
to write the novel; so 
finally, despairing of the 
possibility of fincj^ing 
time, he resigned his 
position to shut himself 
up in a hotel room where 
he labored for two full 
years on his manuscript. 



Seen 



An artist of 1871 made 
this charcoal sketch of 
Chicago after the big 
fire. Directly beneath 
it, the same scene as 
reproduced in "Sweep- 
ings" 




A mill- 
ing mob 
storms the 
Pardicay store 
for the big sale 
after the Chicago 
fire — and starts the 
Pardtfay fortune. 
Many socks vanished dur- 
ing the filming of this scene 



That his work was well done is attested by the fact that his 
novel attained immediate popularity. It is fortunate that it 
did, for every cent of Cohen's savings had been gambled on the 
venture. RKO Studios purchased "Sweepings" and engaged its 
author to adapt it to the screen. Two months later, Cohen 
completed the script. 

JNIeanwhile, the numerous roles were being cast. Rarely has 
so large a production offered so few casting problems, although 
several loans from other studios had to be negotiated. In 
nearly every case,-one screen test sufficed for each part. The 



Below, the story comes down to 
the present day, and Y)aniel Pard- 
xcay's oldest son (William Gargan), 
finding life easy, goes the easy way 
of wine, women and song. At 
bottom, Daniel and his wife (Nan 
Sunderland) are welcomed to Chi- 
cago in 1871 by his brother (Alan 
Dinehart) 



unusualness 
of this situa- 
tion is apparent 
when you re- 
call the hun- 
dreds of tests 
that preceded 
the casting of 
Irene Dunne 
in "Cimarron," 
Diana Wyn- 
}-■ a r d in 
"Cavalcade" 
and other ac- 
tresses in simi- 
lar dramas that 
had to do with 
a span of years. 
Nan Sunder- 
land, in private 
life the bride of 
Walter Huston, 
was the first to 
be tested for 
the role of Abi- 
gail Pardway. 
She woD the 
unanimous 
approval of 
RKO execu- 
tives and, of 
course, there 
were no further 
tests, much to the disappointment of a score of candidates. 

Lionel Barrymore, borrowed from M-G-jM, was assigned the 
starring role of Daniel Pardu-ay. The part of his brother. Thane, 
fell to the capable hands of Alan Dinehart. The four Pardivay 
children are played b}' Eric Linden, ^^'illiam Gargan, George 
Meeker and Gloria Stuart, the latter on loan from Universal. 
Gregory Ratoff, as Ahe Ulljuaii, Lucien Littlefield as Crimson, 
Helen Mack as Mamie, and Ivan Lebedeft" as Prince Nikolaz 
completed the casting of major parts. Borrowing John Cromwell 
{Continued on page g6) 







ift 






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Mi 



41 




yVe ^]\(b7ninate 

for ^ 

tardom 



Ruby Keeler 

Warners-First Na tional 

RUBY KEELER may be Al Jolson's wife in private 
life (and is), but she is going to be Somebody on the 
screen on her own account. Wait and see! She may 
<^ have been the star of six of New York's biggest 
musical comedy hits (and was), but she's going to be an even 
greater hit in pictures, the Warner Brothers think. And after 
seeing that piquant personality of hers in "42nd Street," we are 
inclined to agree with them. 

Counting a year to each show that Ruby has appeared in 
since she left the Professional Children's School in New York 
at thirteen, and then allowing 
four years of retirement as 
Mrs. Jolson, you will figure 
her to be about twenty- 
three. She has enormous 
Irish eyes and a pointed, 
elfin face. And can she 
dance? 

Darryl Zanuck met her at 
the fights with Al, and his 
second remark to her, right 
after "How do you do?" was 
"Don't you want to go in a 
picture?" Joseph Schenck 
had already asked her that, 
but Ruby figured that to 
start her screen career in her 
husband's picture wouldn't 
be so good. This was differ- 
ent. So Ruby became a movie 
player — a bit frightened "be- 
cause nobody knows me."' 



Tom Brown 



Series Number 12 

In making these prophecies about Ruby Keeler and 
Tom Brown, MOTION PICTURE rounds out a full year 
of nominating newcomers for stardom. 

Our previous Nominees, in order of selection, have 
been: Tala Birell and George Brent; Ann Dvorak and 
Randolph Scott; Gwili Andre and Bruce Cabot; Lyda 
Robert! and Robert Young; Gloria Stuart and George 
Raft; Dorothy Wilson and Dick Powell; Aline MacMahon 
and William Gargan; Katharine Hepburn and Lyle Tal- 
bot; Diana Wynyard and Preston Foster; Glenda Farrell 
and Buster Crabbe. 

Several of these have already fulfilled our prophecies 
of stardom for them. (The only new stars of the past 
year have come from this group.) The others are on their 
way in increasingly big roles. 

Watch for their names in the casts of coming pictures. 
And check up on our prediction of stardom for Ruby 
Keeler by seeing her in the backstage drama, "42nd 
Street"; and for Tom Brown by watching him in the rum- 
fieet drama, "Destination Unknown." — Editor. 



UNIVERSAL 

TOM BROWN, like Ruby Keeler (and Gene Ray- 
mond, Anita Louise and Lillian Roth), received his 
first dramatic training at the Professional Children's 
School. Tom gives his age as twenty, but — hist! — we 
hear on very good authority that he has added on a few years! 
We are usually a bit shy of these precocious youngsters. We 
have to be sold on them. But after seeing his work in "The 
Famous Ferguson Case," "Fast Companions," "Tom Brown of 
Culver," "Hell's Highway," "Laughter in Hell" and "Destina- 
tion Unknown," who wouldn't be wiUing to risk a reputation 

as a good prophet on Tom? 

He has been on the stage 
since he was eighteen months 
old. When he was ten, he 
appeared in "Is Zat So?" 
with the Gleasons and stayed 
in the part for three years. 
Between times, he rescued a 
few people from drowning, 
went to school, and broad- 
cast over the radio. 

He has freckles and a good 
grin. He's at the in-between 
age — too big to play "kid" 
parts and net big enough to 
play young lovers. Even so, 
the}' are writing in parts 
especially for him. He Hkes 
the girls, but cannot under- 
stand why he cannot stay 
in love for more than two 
weeks at a time. 



We Believe in Her 

Because not only is she a great little dancer, but she can ACT. 
Because she is not just a pretty girl — she is, photographically, 
a find. Because she was a Ziegfeld star — and Ziegfeld could pick 
'em. Because, after six years on Broadway, she was self- 
conscious before movie stars when she started "42nd Street." 
Because she stole the picture. Because she would sign for only 
one picture, until Warners saw how they liked her — and now 
they have her tied up for seven years! 



We Believe in Him 

Because his mother is a former actress and has taught Tom 
"the ropes." Because whenever he has shown a sign of egotism, 
she has known what to do. Because other studios are con- 
stantly trying to borrow him. Because, at his age, he has a 
formidable list of both stage and screen roles to his credit. 
Because he has few of the juvenile mannerisms that have 
annoyed audiences in the past. Because boys of his own age 
say that he is "regular" — a high compliment from them. 



Motion Picture Presents the Coming 



42 



TOM BROWN 

At 20, he Is the only screen hero who has had a 
picture named after him — namely, "Tom Brown 
of Culver." And with eighteen and a half years 
of stage experience behind him, he knows his 
acting. Still growing, he's attaining star stature! 




RUBY 

KEELER 



She doesn't look as if she'd ever have camera-fright, does 
she? But Ruby did— when she started "42nd Street." And 
then stole the picture! She attended the same school that 
Tom Brown did and, like him, was a Broadway prodigy. At 20, 
she was Ziegfeld's star dancer. And Mrs. Jolson can also act! 



Stars — They'll Be Your Future Favorites 



43 



CLOTHES 



GOSSIP 

from 

HOLLYWOOD 




Here's the sassy little henna 
hot that Clauaette Colbert 
wears in "Tonight Is Ours" 



Who's Wearing What and How Is Revealed in Motion Picture's 
New Department of Advance Fashion Tips from the New Films 



By 




For the third 
month, Mari- 
lyn is telling 
you, through 
MOTION PIC- 
TURE, the 
"inside story" 
of what new 
styles the new 
pictures are 
setting — and, 
like these new 
pictures, she 
has some fash- 
ion surprises 
for you. Not 
only this 
month, but 
every month. 
Keep up with 
Marilyn, and 
then watch for 
the pictures 
she has seen 
in production 
— and you 
won't miss a 

thing in the fashion line from Holly- 
wood ! — Editor. 



" W N the Spring a lady's fancy turns 

I covetously to the thoughts of a 

I NEW HAT. ..." And if you 

JL are one of the millions who are 

guided by Hollywood's preferences in 

hats, what a HAT you will be wearing 

this Spring! 




Hats have been perky, and just a bit silly for 
more than a year now. But if you can believe what 
you will see in the new pictures of Joan Crawford, 
Constance Bennett, Claudette Colbert, Nancy 
Carroll, et al, hats are going to be almost ridiculous 
in their cuteness this Spring! "Perky" is no longer 
the correct adjective to describe Hollywood's fash- 
ionable headgear. They're sassy . . . they're impu- 
dent . . . they're downright fresh, the way they cling 
to the side of Milady's head, if they are small. And 
they're exaggerated into the most adorable turns 
and twists if they are large! 

There are no "in between" hats to be glimpsed in 
the movies they are making right now. They are 
either perfectly enormous, or so small that they can 

be pushed 
down into a 
coat pocket. 

Wait until 
you see Joan 
Crawford's 
Sherlock 
Holmes cap 
from the sports 
sequence in her 
new picture, 
"To-day We 
Live"! Adrian 
designed this 
for Joan as 
the latest pos- 
sible model in 
a sports Tiat. 
It is gray 
tweed, the 
same material 
as Joan's suit, 
with an enor- 




The ever-popular black-and-white connbination is fea- 
tured in "A Lady's Profession," by Sari Maritza (upper 
left), and by Kathleen Burke (above) in a scene in 
"Murders in the Zoo" 



44 




The angle of Sari Maritza's black corded silk skull-cap is 
very important. Next to her is Nancy Carroll in a less 
extrenne model of the small hat in blue silk crepe. Next 
in line is Adrienne Ames with her Leghorn hot, which goes 
to the other extreme in size, as does Maureen O'SullIvan's, 
which is made of Baku straw and rick-rock braiding 



r 



mous "visor" that completely obscures one of the Crawford 
eyes, so that the left eye never knows what the right eye is 
doing. It's extreme, but also extremely attractive. 

Will Use It for a Sunshade 

T'S swell for those sunny 
days," laughed Joan when 
she first tried on the amazing 
chapeau. "I can, at least, keep 
one side of my face shaded!" 
When Howard Hawks, the direc- 
tor of the picture, saw THE hat, 
he said, "I can't tell whether I 
think it is the most ridiculous 
hat I ever saw — or the cutest." 
It may be either ... or both . . . 
but something tells us that it is 
going to start a new fad in hats, 
just as Joan's attire in "Letty 
Lynton" started a new sleeve fad. 

Travis Banton, the Paramount 
designer, got his inspiration for 
the fresh little hat worn by Clau- 
dette Colbert in "Tonight Is 
Ours" from our old friend, the 
Overseas Cap of the late World 
War. Just how it manages to 
cling to the side of Claudette's 
slick coiffure is another one of 
those fashion mysteries. Maybe 
the material has something to do 
with it — the hat is of henna crepe 
with a henna cock - feather 
perched impudently right on the 
top of the crown ! 

But Banton's pride and joy among 
the latest millinery that he has de- 
signed is a brimless black silk skull- 
cap, heavily corded, which is worn by 
Sari Maritza in "A Lady's Pro- 
fession." The hat, itself, is a mere 
handful of material no bigger than a 
handkerchief, but the smartness lies 
in the way it is worn. You've heard 
of hats coming far down over one 
eye — well, this one comes so far over 
the eye that it completely obscures 
one eyebrowl 




The gray tweed sports hat d la Sherlock 
Holmes, worn by Joan Crawford (above) 
in "To-day We Live," is made of the 
same material as her suit. Left, Joan 
in the stunning black-and-white outfit of 
quilted angel-skin from her own wardrobe 



Far less exaggerated is the almost-normal-sized 
little silk crepe hat of blue with a self-material bow 
in the back, worn by Nancy Carroll in "The Woman 
Accused." In case you just can't wear the exagger- 
ated models worn by Joan, Claudette or Sari, you may 
be equally modish in the hat that Nancy wears in so 
many close-ups with Cary Grant. 

Big Hats Still Flattering 

AND here's a little tip: Don't let these funny little 
hats frighten you away from at least one very 
large hat for your late Spring or early summer millin- 
ery! Say what they will about the staccato fashion 
charm of these pee-wee hats, there is nothing more 
flattering to a woman's face than the large-brimmed 
hat! You may not look so smart, but you will look a 

45 



r- fx' 



«« 



« « « « 






Constance Bennett 
(above) shows the 
striking white cor- 
duroy and brown 
wool sports cos- 
tume that she 
wears In "Our 
Betters." Her 
kerchief is white 
and brown, too" 



i: 



1^ 



^ 



f 



^ 



f u 



>v^ 



i^ 



/i ^^M 



iS. 



Two of the gowns that 
Claudette Colbert wears 
in "Tonight Is Ours" go 
from one extreme to the 
other. Above, you see 
the very girlish ruffled dress 
and, below, the slinky and 
more sophisticated one of 
the two. Katharine hlep- 
burn and Helen Chandler 
(left) in "The Great De- 
sire," Katharine wearing a 
smart riding habit and 
Helen a mannish suit 



X 



y 



^-^^ 



V ■T*.' 



Brown and white are again 
combined in the checked 
bathing suit worn by Madge 
Evans (above). The cute little 
one-sided white ermine cape 
that Helen Chandler wears 
in "The Great Desire" is pic- 
tured at the left 



^:% 



46 



great deal prettier in the model worn by Adrienne 
Ames. Notice the stunning eye-dip that Banton 
has given this untrimmed natural Leghorn straw. 

Another girl who prefers a large hat for her 
newest is Maureen O'Sullivan, who models her lat- 
est purchase for her personal wardrobe. Maureen's 
hat is a Borel model of rick-rack braiding on 
large-brimmed Baku straw. The colors are 
natural straw and brown. The bow gives a youth- 
ful effect, which makes this an adorable model for 
the girl in her teens. 

Getting away from the fascinating subjects of 
hats for a moment, let's stop and consider what 
Hollywood is doing with color combinations in 
the latest pictures. As usual, the most effective 
combination for the camera (so far as photography 
goes) is that old stand-by, black-and-white! 
Hollywood isn't going to get in any argument 
about whether black and white are the very latest 
combination, or not. The Paris designers may 
have thought up something a little more novel 
for this Spring — but Hollywood is sticking to her 
story for effectiveness . . . black and white forever! 

Joan's "Angel-Skin" Outfit 

HAVE you ever seen any Spring ensemble 
more effective than the cos- 
tume worn by Joan Crawford the 
day she reported to the studio to 
have make-up tests for "To-day 
We Live". -• The Basque blouse is 
of quilted angel -skin (yes, it is 
something new), with ruffled 
edges and four shiny, black but- 
tons as the only trimming. Joan's 
tailored black skirt is of the same 
material — angel-skin; her pumps 
and bag are of patent leather; 
and the smart black hat is velvet. 
Adrian liked Joan's outfit so well 
that he begged her to wear it for 
a certain street scene in "To-day 
We Live," in which, by the way, 
Gary Cooper is her co-star. Per- 
haps she will — but we got a pic- 
ture of it anyway, just in case 
something comes up to make her 
change her mind. We just had to 
let you see this stunning black- 
and-white combination. 

Another effective use of black 
and white is shown in "Murders 
in the Zoo," when Kathleen 
Burke appears in her black crepe 
gown, most startlingly collared- 
and-cuffed in rough white crepe, 
which has been heavily braided. 
And still another black-and-white 
dream of a dress is worn by Sari 
Maritza in "A Lady's Profes- 
sion." When you see Sari's black 
crepe gown in the picture, don't 
mistake the white satin covering, 
which extends from the elbow to 
the wrist, for something new in 
long gloves. Those, if you please, 
are the sleeves. And how do you 
like that large black stripe down 
thecenterof the white collar? Do 
you wonder that Hollywood 




The scene above is from "To-day We Live" with Joan 
Crawford and Robert Young, in which Joan wears the 
adorable white mousseline-de-soie dress. Left, Constance 
Bennett gives you a glimpse of the gown with the train 
that she wears in "Our Betters" 



cameramen clamor for more combinations of black and 
white from the studio fashion designers? 

If it's sport clothes you're waiting to glimpse in the 
new pictures, you are going to hail with delight the stun- 
ning sports outfit worn by Constance Bennett in the 
garden scenes of "Our Betters." The knee-length coat 
and the skirt of the ensemble are of white corduroy, and 
the sweater is of dark brown wool. 

Connie Brings Back Socks 

NOTICE in particular the enormous white buttons 
that are "piped" in brown. And the handkerchief 
that dangles so effectively out of Connie's pocket is brown 
and white silk. You don't have to wear the metal belt 
with the sweater, but Connie likes it that way. Some- 
body said not so long ago that socks were pass6. But 
Connie, in portraying an American girl married to a title 
in "Our Betters," has elected to wear socks with her 
{Continued on page 80) 

47 




CAROLE LOMBARD 



You get the impression that 
Carole has cleared away a mist 
from before her eyes and sees 
clearly at last just what she 
ought to do — and will certainly 
do it. Once content to be one 
of the screen's best-dressed wo- 
men, she must be on the move 
now — and go places in an acting 
way. That's what it does to 
a girl to play opposite Clark 
Gable, as Carole did in "No 
Man of Her Own"! And she 
may bridge the gap to stardom 
as quickly as she goes "From 
Hell to Heaven" in her next! 

Dyar 



\ 




^Td Make a Terrible 
Hush an dr Says 

Lee Tracy 



By Gladys Hall 



IVE had a day as was a 
day. I interviewed 
Maurice Chevalier at 
eleven, and at noon I 
met Lee Tracy on the Matro 
lot and lunched with him, 
while he told me about the 
armor he's wearing against 
Dan Cupid's well - known 
arrows. 

I said, "I'm still under 
the French influence — I've 
just left Chevalier." 

Said Lee, "How'd you 
get here so fast — bounce off 
his lower lip?" 

And that's that boy from 
Atlanta, Georgia, for you. 
As breezy, as snappy, as 
quick on the comeback off 
the screen as ever you have 
seen him on. More than a 
little tired, withal, having 
made nine pictures in an in- 
credibly brief span of time, 
one following on the heels 
of the other so rapidly that 
he has occasionally found 
himself calling the character 
of one picture by the name 
of the character in the pic- 
ture before. Of them all, 
"Blessed Event" is his 
favorite to date. Recently, 
he signed a gilt-edged, long- 
term contract with Metro- 
Goldwyn-Mayer and plung- 
ed immediately into the 
production of "Clear All 
Wires," the comedy-melo- 
drama about American 
newspaper correspondents 
abroad. He feels that he has 
skimmed the cream off the 
free-lance field and is glad 
for a "steady place." 

"I'd make a terrible husband," Lee told me, at the luncheon 
table. "The way I work alone is enough to class me with 
the perennial bachelors. And then, I have a sort of passion 
for being by myself. We're on good terms, me and myself. 




.\ while back I drove out 
here from New York, all by 
my itty self. People said to 
me, 'Drove across the con- 
tinent alone? Why, you 
must be nuts! What's the 
idea?' 



No Wife, No Strife 

t: 



In other words, Lee is trying to 
squelch that rumor that he is one of 
the screen's most eHgible bachelors. 
Not kidding a bit, he says he doesn't 
need a wife, doesn't long for a home 
of his own, and doesn't crave a little 
Lee Tracy, Jr. — and gives his rea- 
sons. Don't miss them! 



HE idea is that I have 
a swell time when I 
I am enjoying my own 
company. I never get into 
arguments with myself. I 
am so self-sufficient that I 
even enjoy my own con- 
versation. And every stop 
I made on the way out, I 
took time off and patted 
myself on the back because 
I didn't have a wife with me. 
I could go to any little ol' 
hotel I had a mind to, in 
any town, at any time. If 
I'd had a Missus Tracy 
with me, she would cer- 
tainly have said, 'Oooh, do 
we have to stay at this 
awful little hole? Can't we 
go on to the next town? 
I'm sure I won't like the 
rooms or the bed-linen or 
the carpet on the floor or 
the way they scramble their 
eggs.' Things like that. 
You know . . . don't pretend 
that you don't . . . 

"Alone, I could eat any- 
where I liked, as well as 
sleep anywhere I liked. I 
could drive all night if I 
was night-minded, or I could 
sleep all day and what the 
hell. I could stop along the 
way whenever I felt the 
urge and talk to hoboes or 
the cattle on the ranges, if 
I felt we had anything in 
common, which I frequently 
did. I could burn up the road, and there was no back- 
seat driver to remind me, hysterically, that Eternity might 
be just around the corner — ^and was I ready for it? 
{ConUnued on page 84) 

49 



Bachrach 



f=^- 



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'iii-'^'r 



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»7 



When Ramon No- 
varro leaves Holly- 
wood in the Spring, 
he nnay find that 
"there's no place 
like home." For 
Ramon drew the 
plans for his new 
modernistic home, 
himself. Left, you 
see him on the 
breakfast porch 



nr.. 



4-%.A 






'fM.1 



All photos by Clarence Sinclair Bull 



b^r 



«— i- -^ 



i%m 



^v*^ 



m 



Ramon is sending a younger brother 
through college to be an architect — to 
be, in others words, what Ramon, himself, 
might well have been. He designed his 
new home for privacy, as well as modern- 
istic beauty. Above, the entrance — 
against which all visitors are silhouetted 






^ 



Ramon built a 
home for him- 
self because he 
wanted to be 
able to play the 
piano whenever 
the mood struck 
him. Above, 
from an unusual 
angle, you see 
a corner of the 
music room. 
Left, the music 
room terrace — 
with Ramoh on 
the breakfast 
porch above it 



50 




"I'll Never Fall ^fP^?^ 
Predicts Ramon 



About to leave the screen "for at least three years," 
Ramon says, "There will never be an Only Girl for 
me. I shall never marry. I never will be in love." 
Sounds like a drastic prophec}'', doesn't it.^ But the 
secret is that Ramon, who hasn't had time for 
romance In Hollywood, expects to have even less 
time when he takes up music in a serious way! 



BY FAITH SERVICE 



Ramon Novarro has built a new 

home to have privacy. And he 

dodges romiance to keep that 

privacy 



RAMON NOVARRO, now 
about to give up the 
screen, has changed. 
<. Within the space of one 
year, he has become an entirely 
different sort of person. He now 
believes absolutely that he will 
never fall in love and will never 
marry. 

One year ago he was living with his 
family and would have vehemently 
rejected the idea that he would ever 
live apart from them. To-day, he is 
H\dng apart from them, alone, in a 
house of his own. 

A year ago, Ramon was very young, 
an idealist, a visionary. To-day he is 
not so young. He is tired. He is less 
the visionary idealist and more the 
practical business man, somewhat overbur- 
dened with cares, worried about his work, 
harassed with responsibilities. 

Even as recently as a year ago, credence 
was still given the familiar story that he 
planned, some day, to enter a monastery, to 
lead the monastic hfe. Ramon says, now, 
very emphatically, that he does NOT plan 
to enter a monaster}' — that the largest part 
of that story was "colorful publicity." 

"This doesn't mean," he says, "that I have 
lost any part of my religion. It means more 
to me now than it ever has. I feel that we 
need God in the world now as we have never 
needed Him before." 

The other stories written about Ramon 
a year ago had to do with his love and self- 
sacrifice for his family — his mother and father, his eleven 
brothers and sisters. And, occasionally, a semi-romantic story 
would appear, describing the Ideal Girl that Ramon hoped to 
meet and marry some fair day. 

Ramon's devotion to his family is as fervent and faithful as 
it ever was. But he has found that he must have privacy. 




seclusion, a place where he can be by himself, lead his own life, 
with his own thoughts. He found that he could no longer go 
on under the pressure of so many other lives being lived, so 
many other problems being faced, so much activity about him. 
It was for this reason and no other that he bought his own 
{Continued on page jS) 

51 



How Would 




ECHNOCRACY 

Change 

Hollywood ? 




The Technocrats predict that, in ten more 
years, the science of Energy will remake the 
world. Machinery will do most of the work, 
people will have time to enjoy life, and wealth 
won't be measured by money. And if this 
happens, what will Hollywood be like in 1943.^ 
James Cagney, Edmund Lowe, Fredric March, 
Douglas Fairbanks, Boris Karloff, Robert Arm- 
strong and Lilyan Tashman give you a com- 
posite picture from their imaginations! 

By JOHN L. HADDON 




THIS is the year 1943. Technocracy reigns supreme. 
Super-machines, directed and controlled by mech- 
anical men or robots, are performing the world's 
toil. Man stands emancipated, free from the driv- 
ing necessity of hoarding wealth, ready to divert his energy 
to the gaining of culture, health, and happiness. 

An impossible Utopia? Perhaps. A dream more fantastic 
than the futuristic cities of "Just Imagine"? Yes, certainly. 

This story does not attempt to argue for Technocracy — 
that plan, to date, is too nebulous, too much inclined to 
overlook the difficulties that lie in its path. This story 
merely supposes that Technocracy is actually perfected 
and in operation, and asks: WHAT WOULD HOLLY- 
WOOD BE LIKE UNDER SUCH A SYSTEM? 

Remember that this Hollywood of ours has been money- 
mad — a city of show and bluff, boastful of its million-dollar 
salaries, its million-dollar production costs and the fabulous 
luxuries of the stars. Remember that it has been dominated 
by one of the most rigid caste systems ever known, with an 
aristocracy based on salaries. 

But this is the year 1943. The "Price System" has been 
abolished. Debts and profits are out of date. Every person in 
Hollywood, from "extra" to star, has been guaranteed a 



spending power equal to twenty thousand dollars a year, a 
chance to show his worth, and about nine months of leisure. 

WHAT WOULD HOLLYWOOD BE LIKE? 

I asked James Cagney that question and found him dubious 
at first, unable to disregard the impediments that lie between 
the proposal of so revolutionary a plan and actually putting it 
into eff'ect. 

" Forget the obstacles," I prompted. " We're supposing that 
they've all been met and overcome. Technocracy is in force." 
He began to warm to the subject. . . . 

Cagney Foresees an Art Center 

THEN I see a startHng new Hollywood," he said. "In- 
stead of considering machines a natural enemy of 'art,' 
we would welcome new and highly-developed mechanical aides. 
Hollywood is already a center of artistic activity. It has 
attracted a tremendous number of artists because motion 
pictures employ every branch of art — architecture, music, 
literature, photography, acting, and even sculpture and paint- 
ing. It would attract still more under the reign of Tech- 
nocracy. 

"These artists would be free from all money worries, for the 
government would guarantee each worker's income. They 



52 




would think of the merit of their work, rather than its price. 
Hollywood would become one of the few great art centers of 
the world, just as Pittsburgh, with its steel mills and nearby 
coal fields, would continue to be an industrial hub. 

"Here in Hollywood, we would have one of the world's great 
television broadcasting stations. Probably it would be located 
somewhere in the San Fernando \'alley. It would broadcast 
pictures in both sound and color, and its programs would feature 
the world's greatest musicians, actors and 
writers. Because profits would be outlawed, 
the consideration would be to produce the 
finest entertainment possible. There would 
be no gang pictures or sex picture cycles, no 
sensational exploitation gags, and no 'star 
system.' Dramas would be cast without 
reference to an actor's 'fan following' — for 
the only important point would be: 'Does he 
fit the role and is he capable of playing it?' 

Possible Revolutions in Studios 



TELEVISION would never entirely 
replace the screen, but the develop- 
ment of scientific marvels by the engineers 



Left, Hollywood in the 
Technocracy Era — with 
space ships sailing the 
skies, speed cars roaring 
along the streets, actors 
seldom working but 
never poor, stars and 
plumbers living alike 

in charge of the gov- 
ernment would com- 
pletely rev^olutionize 
the studios. Sets 
would be replaced by 
natural backgrounds, 
projected in three di- 
mensions on a gigan- 
tic screen before which 
the actors would 
work. Stenographers, 
transportation 
crews, carpenters, 
electricians, book- 
keepers and gatemen 
would be replaced by 
machines. Some of 
them would become 
movie stars. 

"Everyone, of 
course, would have a 
vast amount of lei- 
sure in which to fol- 
low his own desires, 
and I think that the 
majority of Holly- 
wood's workers, being 
naturally creative, 
would soon tire of 
aimless pleasure. 
With thousands of 
artists gathered in one 
colony, the social 
changes in Hollywood 
would be greater even 
than the industrial. 

"People would be 
judged by their char- 
acter and ability, in- 
stead of by money standards as now. It would no longer be 
hard to 'get into the movies' and a new crop of actors would 
spring into the spotlight. There would be room for thousands 
more actors because each would work only eight hours a week." 
Edmund Lowe, while admitting that he has not the faintest 
idea how the Utopia pictured by the Technocrats could 
be reached, drew a fantastic picture of Hollywood under its 
regime and sought to imagine what part he would play in it. 

Lowe Sees More Leisure, 
More Art 

"TUST to be radical," he said, 
I "let's suppose that a governing 
"^ councilsaidtome:'EdmundLowe, 
as an actor you're not an energy pro- 
ducer; consequently, your work has 
no place in the fundamental program 
of a mechanized world. You're to 
drive a tractor, grow oranges and 
produce energy. Entertainment will 
be subsidized by the government. If, 
in your leisure, you wish to act, 
{Continued on page go) 




Technocracy's cocktails would be 
shaken by robot servants, who would 
never, never testify in divorce suits 



53 



Marlene Dietrich Tells 



No, she says, she doesn't wear them to be sen- 
sationah And she isn't trying to start a revolu- 
tion in feminine attire — though she says that if 
other women tried them, they'd never go back 
to skirts. Marlene says she just followed the 
pajama-and-slacks idea to its logical conclusion 
— and adds that she has never been more com- 
fortable or felt better-dressed in her life! 



MARLENE DIETRICH says: "The public is 
always getting excited over something, any- 
way. First, I uncovered my legs, and people 
were excited over that. Now I cover my legs, 
and that excites them, too ... I am sincere in my prefer- 
ence for men's clothes — I do not wear them to be sensa- 
tional ... I think I am much more alluring in these clothes. 

...Wearing 
such clothes, 
too, there is a 
sense of per- 
fect freedom 
and comfort. I 
never was com- 
fortable in one 
single dress 




that I have worn in all my life. . . . Women's 
clothes take too much time — it is exhaust- 
ing, shopping for them. Men's clothes do 
not change; I can wear them as long as I 
like. ... I only hope other women try them 





I /Iter national 



Mannish clothes aren't anything new for Marlene. A year 

ago, for instance, she was wearing shirts, ties and mannish 

coats, as at left. In "Blonde Venus," far left, she wore a white 

dress suit. Above, how she goes to work to-day 



and find the comfort I enjoy in them, free from all the con- 
strictions of the conventional women's wear." 

These are a few of the highlights gleaned from the first inter- 
view given to a screen magazine by Marlene Dietrich since she 
first startled Hollywood, and the world, with pictures of herself 
in men's clothes, with appearances at places about town in 



54 



Why She Wears Men's Clothes! 




June Eslep 

Above, the Dietrich of the famous legs (now hidden off 
the screen). On her last visit to Germany, she donned trou- 
sers to pose as "Blue Boy" (far right). Novi^ she has ten 
trouser suits. Right, how she dresses for a premiere 



men's clothing, appearing nonchalant and looking comfortable. 
Marlene caused something of a sensation, when she did her 
first American-made film, "Morocco," by appearing as an en- 
tertainer in a cafe, in a full-dress suit and top hat. People 
gasped, said "How continental!", and let it pass. Then came 
her latest film, "Blonde Venus," and again Dietrich was in a 



By ROSALIND Shaffer 



dress suit — a white one, however, trimmed with stripes of bril- 
hants. Now she's wearing mannish attire off the screen, and 
onto the very streets of Los Angeles. Since Marlene is fortu- 
nate enough to have a limousine and a chauffeur, she is spared 
the mobs that would greet an ordinary woman in such extraordi- 
nary garb — but even so, she causes a furore on every ap- 
pearance. 

Will She Remake Woman's World? 

ARE the struggHng women of the world to have a Joan of 
L Arc come out of Hollywood in the person of Marlene 
Dietrich? Are the fashion-creators of Paris to be defeated by 
the lovely Marlene in her one-woman Battle of the Century? 
Is Marlene's fashion ultimatum going to be the "shot heard 
round the world" and are Marlene's breeches a new banner of 
freedom for the women who spend their lives and their money, 
trying to keep abreast of the styles, which change every three 
months? 

These are some of the questions that thinking people in Hol- 
lywood have been asking themselves of recent weeks, since Mar- 
lene Dietrich has 
gone Garbo one 
better by 
appearing at 
shops, cafes, and 
even premieres, 
clad in men's 
garments — dain- 
tily tailored to 




Kei/.slone 

show the prc^vocative Dietrich curves, but 
men's garments, nevertheless. 

Marlene has a wardrobe of ten tailored 
suits, with trousers, in her very modernistic 
{Continued on page ■jo) 



55 



Gable 



Answers Your Questions! 

The February Motion Picture gave everybody a chance to ask Clark a 

question — and practically everybody grasped at the opportunity! And Clark's 

answers tell more about him than any story ever has! 

By MOTION PICTURE'S Inquiring Reporter, 
ERIC L. ERGENBRIGHT 



AS your Inquiring Re- 

/\ porter, his voice a 
/ % mere whisper of its 
^ Jl former self, fired the 
last one of your questions at 
Clark Gable, he filled his be- 
loved pipe for the twentieth 
time and sighed with relief. 

"Now," said Clark, deci- 
sively, "I know what it feels 
like to be put on the spot!" 

The mountainous pile of 
questions that I received from 
Gable followers — after they 
read, in the February Motion 
Picture, of the chance to ask 
him a question — covered his 
past, present and future, sought 
his opinion on every subject 
under the sun, and left him 
gasping for breath. 

Fortunately, many of the 
questions were duplications. A 
great number of you wanted to 
know "how to get into the 
movies." In the question of 
duplication of questions, one 
answer will serve for all. 

Unfortunately, there were 
some questions that studio 
rules prevented Clark from 
answering. A few were beyond 
the bounds of good taste — but 
very few. And there were liter- 
ally hundreds of queries that 
requested a personally auto- 
graphed picture of the star. ^^■■■■I^^^^^^H 
Such requests should be ad- 
dressed to the Metro- Gold wyn- 

Mayer Studios, not to the Inquiring Reporter. Also, a num- 
ber of you applied for a job as Clark's chauiJeur. Several 
hundred questions were received too late to qualify, and be- 
cause of that I urge you to send in your future questions 
promptly, so that they will be received on or before the 
twentieth of the month. 

So here goes! William Clark Gable is on the witness stand, 
giving a complete, revealing account of himself! Your questions 
are in light italics; his answers are in heavy Roman type: 

56 




Watch For THEIR Answers! 

Questions, questions, questions. Bagful after 
bagful of them. Thousands upon thousands of them. 
As we began the tremendous task of sorting them, 
it began to look as if EVERYBODY had a question 
to ask Clark Gable. And Clark thought so, too, 
when he started to answer them. But our work and 
Clark's work, we feel, was well worth the effort. 
You will KNOW what Clark Gable is really like 
after reading all the questions and his answers. 
You will know him as you never have before. 

Last month, we gave you the chance to ask Con- 
stance Beimett a question. This month (on page 31) 
we offer you the opportimity to quiz Maurice Cheva- 
lier. In the May Motion Picture, you will read 
Connie's answers. (And what a deluge of Bennett 
questions has flown into our Hollywood office!) In 
the June Motion Picture, you will read Chevalier's 
answers. Hurry along your Chevalier question be- 
fore March 20, to be sure it will reach us in time to 
have Maurice answer it! 



What books do you enjoy 
most, and iv/ic are your favorite 
authors? I like detective and 
adventure stories best, I think. 
Arthur Conan Doyle, S. S. 
Van Dine and Jack London are 
among my favorite authors. 

117/0 is your favorite poet? 
Robert W. Service. 

Did you graduate frojn college 
or university? No, I'm sorry to 
say, I didn't. I attended Akron 
University night school for 
about a year. 

What would you like to do if 
you were not in the movies? I 
would try to become a mechan- 
ical engineer, for I like any- 
thing connected with machin- 
ery and I think that profession 
has a mighty fine future. 

117/0 do you think is the pret- 
tiest woman movie star in Holly- 
wood? Really, I can't answer 
that question. Holl3rwood has 
so many beautiful women, it 
would be impossible to make a 
fair decision. 

// you ever visit France, will 
you go to Biarritz? One of my 
keenest ambitions is to travel. 
I've never had the opportunity, 
you know. If I visit France — 
and I certainly want to — I'll not 
overlook Biarritz. 

TI'7/u; story would you like best 
^^^^^^^^^^^^^^ to make into a picture? A stage 

play, titled "Blind Windows." 
It would make a great picture. 
Were you, on July 4, ig2j, measuring timber in Clinton, 
Montana, with a group of boys from St. Paul? I have two snap- 
shots of the boys and one is like you in every detail. I'm sorry, 
but I couldn't have been in your snapshots. I was in Los 
Angeles at that time. 

For a young actor wishing to gain experience, which would 
you advise — the stage, stock or "extra" work in Hollywood? A 
good stock company. It will give you wider experience and 
more versatility. 



// you were making a personal appear- 
ance tour, would you consider coming to 
PaLerson, New Jersey^ (There were many 
questions like this, and in answering one, 
Chirk replies to all.) When an actor is on 
a personal appearance tour, his route and 
theatre appearances are arranged by the 
studio and the exhibitors. 

You like the wild life very much, don't 
you? If you mean life in the wilds, yes. 
Hunting is one of my favorite recreations. 

Is it true that your parents were Penn- 
sylvania Dutch? Yes, my name is an 
Americanization of Goebel, and my 
mother, who was bom in Pennsylvania, 
was named Hershelmann, 

Is it true that you sticii your ears to your 
head with adhesive tape while being photo- 
graphed? No, that isn't true. 

Why is it that you never wear a ring in 
your pictures? I don't hke jewelry, either 
on the screen or in real life. 

Do you speak any foreign languages? 
No, I'm sorry to say. 

What is your real name and what year 
and tnonth were you born in? William 
Clark Gable. I was bom on February the 
first. (The studio prohibits its contract 
players from giving their ages.) 

Are the articles written about you in the 
different magazines authentic and true? 
With a few exceptions, all I've read have 
been very accurate when quoting me. 

Why do your kisses take so long? (Now 
there IS a question!) I guess I'll have to 
give the director the credit for that. 

Did you ever, as a youth, live in New 
York City? No. 

Do you remember going to school with 
Jake Stahl? I certainly do. Please ask 
him to drop me a line in care of the 
Metro-Goldwyn-Mayer Studios, Culver 
City, California. I'd like to hear from 
him. 

Don't you believe that solitude sometimes 
is one of the greatest things a person can 
have? Yes, most decidedly. Everyone 
needs solitude now and then for the pur- 
pose of self-analysis. 

Don't you think that you owe much of 
your success to Greta Garbo? Your part 
in "The Painted Desert" was very small 
and you were fading. Then came "Susan 
Lenox." Of course, I'm grateful to Miss 
Garbo and I'U frankly admit that she 
helped me greatly in "Susan Lenox." 
But "The Painted Desert" was my first 
real picture and between it and "Susan Lenox," I played in 
"Dance, Fools, Dance," "The Secret Six," "A Free Soul" and 
"Night Nurse." 

What are your favorite sports? Golf and hunting. It would 
be hard to choose between them. 

Would you rather play opposite a young girl like Dorothy 
Jordan, or an older woman, such as Norma Shearer? That de- 
pends entirely on the picture and which is more suited to the 
leading feminine role. Personally, I have no choice. 

Do you play bridge? Not very well, but I try to, occasion- 
ally. 

A man of your apparent intelligence would not continue in 
pictures if he were not working towards a definite goal. What 




When you see the 
number of questions 
Clark Gable has an- 
swered, you'll appreciate his re- 
mark, "Now, I know what it feels 
like to be put on the spot!" 



is that goal? Financial security and all it means, primarily. 

How often do you make pictures and how long do you work 
on each picture? The actual shooting time averages about six 
weeks on each picture, but that does not include the time 
spent on rehearsals or possible added scenes. I played in 
nine pictures during my first year on the screen, but now I'm 
expected to make only four or five pictures a year. 

What is the most difficult role you have ever played in pic- 
tures? The doctor in "Strange Interlude," because of the age 
transition. 

Did you work at the Firestone and Miller Rubber Company 
plant in Akron, Ohio? Yes, about 1916. 

{Continued on page J2) 



57 




-• m 



I 




World-Explorer 
Discovers 
HOLLYWOOD 



Offgiana-Mitchell 

A close-up of Richard Halliburton 



IF you had roamed the 
world, had seen most of 
the places worth seeing, 
had had all sorts of un- 
usual experiences, and then had 
landed in Hollywood, what 
would you think of the movie 
colony? Richard Halliburton, 
world-famous young author-ex- 
plorer, who has done just that, says, "Holl)rwood is unique. 
You really can't make comparisons. They're not fair." 

He goes on to explain: "Hollywood is too glamourous for 
comparisons. It has a special charm and deserves special ad- 
jectives. It is a place of amazing contradic- 
tions. A movie premiere is like no other 
spectacle in the world — with the parade of 
stars, the blinding lights, the crowd that has 
waited from early morning to see its idols. 
On the other hand, Hollywood Boulevard 
resembles the Main Street of any small 
town in America! 

".\gain, at a party the other night, I met 
an erudite psychologist, possessor of several 
university degrees. Sitting beside him was a 
famous actress whose schooling was received 
in a Broadway chorus. They were talking 
about Technocracy, and she seemed the 
more intelligent on the subject, certainly 
the more amusing. The profes- 
sor, incidentally, has worked, to 
his intense delight, in several 
films. 

"There are manj' other con- 
tradictions. An actor-friend of 
mine took a day's vacation in 
the hills last week and told of 
throwing snowballs, in sub-zero 
weather. That same week-end 
another friend left for her ranch 
in the desert, within a few miles 
of Hollywood, to sun-bathe be- 
side the swimming pool in sub- 
tropical weather. Another chap 
and his wife went yachting. 
There isn't another spot in the 
world where such a variety of 
amusements would be possible! 

"I've been lucky enough to 
meet many of the stars. Close 
contact did bring some disillu- 
sion. I never stopped to realize, 
when I sat in my comfortable 



Richard Halliburton, who has made a fortune by seeking the 
unusual, doing the unusual, and then writing about them, 
finally is tempted to Hollywood — and discovers that it is "a 
tremendous experience." There is no other place like it under 
the sun, he says. And he also discovers that acting is like ex- 
ploring — "hard work, but swell fun." The hard work part was 

news to him! 




seat in a movie theatre with an Amuse me, damn you! attitude, 
just how much grueling hard work the making of a picture cost. 
I thought innocently that they enjoyed it as much as I enjoyed 
watching them! But he who plays on the screen must also work. " 

The young chap 
who broke into head- 
lines a few years ago 
when he swam the 
Hellespont, and 
later the Panama 
Canal, is something 
of a contradiction, 
himself. Other 
young men fresh 
out of college have 
"bummed" their 
way around the 
world, but few have 
made a fortune do- 
ing it! As he did, 
when he pubHshed 
his first travel book, 
"The Royal Road 
to Romance." 
He has boundless 
enthusiasm. Among people who 
haven't read his books, he has 
raised a storm of arguments and 
criticisms. Slender, boyish, he 
seems to possess no great physical 
endurance. Yet he chmbed Mt. 
Fujiyama in mid-winter when 
even the guides refused to risk it, 
and snapped a picture of the 
crater, with snow clinging to the 
rim, to prove his feat to the skep- 
tical. A Hollywood press-agent 
tried to persuade him to compare a location trip to 
this climb up Mt. Fujiyama. Halliburton laughingly 
coined an epigram: " No actor lives up to his press- 
agent!" 

In Hollywood (where he is assembling reels of 
travel film into a feature-length picture), he wore 




Above, the ex- 
plorer invites 
Ramon Novarro 
for a flight in 
"The Flying Car- 
pet" — ^just as he 
invited a Borneo 
head-hunter. 
The chief, very 
grateful, gave 
him the human 
heads that he's 
holding at arm's- 
length at the left 



58 




By Mark dowling 

tion — it annoys him — of being a wom- 
en's-club speaker. Actually, he hasn't 
addressed one in four years. 

Knows All of "The Big Three" 

MEETING Mary Pickford— now 
I'll break that comparison 
rule — was one of my happiest ex- 
periences," he relates. "Just as e.xciting 
as when I met the Queen of Persia or 
the Empress of China. Not because 
Mary is a movie star, but because she's 
a woman with a great mind, heart and 
character. 

" Charhe ChapHn delighted me with 
his easy friendliness. We had met be- 
fore in Singapore, on our respective 
travels around the world, he by steamer 
and I by airplane. His arrival in Singa- 
pore caused the biggest excitement of 
the year. 

"At a party at Gary Cooper's the 
other night, Charlie, Doug Fairbanks, 
and I had a three-sided discussion 
about our voyages and adventures." 
(These hardened explorers agreed, in 
case you're planning a trip, that the 



Halliburton first saw Hollywood from the air, as 
at right. And in Hollywood, he was amazed to 
find a double for a Hindu girl he had miet in the 
Shalimar Gardens (above). She acts with him in 
"India Speaks" 



rough corduroy trousers 
during the day and at 
night attended some of 
the colony's swankiest 
parties. He has a cul- 
tured voice and manner 
— from an explorer, one 
might expect a contra- 
diction of accents — but 
a hard handshake. His 
books have sold more 
copies, publishers 
estimate, than any 
other non-fiction 
material of 
this century 
— and he 
isn't yet 
thirty. He 
has a reputa- 




youngster 
hunter in 



Slience Airplane Photos 



far-off island of Bali is the most beautiful and 
romantic place in the world.) " Doug and I, by the 
way, have followed in each other's travel paths for 
a number of years. 

"A funny incident occurred last year. 
Left, Halli- while I was the guest of Dick Barthelmess 

burton with a i i • i ■ -r • r^- i 

jvho'll be a head- ^"^^ "^^ charmmg wife m bmgapore, when 

Borneo some day {Continued on page 8y) 



59 



The Stranee Case of 



UNCAN 



ENALDO 



The young lover of "Trader Horn" is 
Hollywood's "man without a country." 
Just convicted of falsely swearing to Ameri- 
can citizenship, he faces deportation to 
Roumania. That country, however, says 
he was not born there. He claims Camden, 
New Jersey, as his birthplace — but has no 
written proof. The government claims he 
is Roumanian — but he contends there is no 
proof of that, either. What will happen to 
him if his appeal fails.'' 




And now the United States Gov- 
ernment has charged him with giv- 
ing false information in applying 
for that passport, he has been con- 
victed in Federal Court, and he has 
been sentenced to pay a fine of 
$2,000 and serve two years in a Fed- 
eral penitentiary. His opportunity 
in "Trader Horn" brought him 
movie fame — and personal ruin. 

Although Renaldo is convinced 
that he was born in Camden, New 
Jersey, on April 23, 1004, and has 
been accepted as a United States 
citizen by the National Guard, the 
civic authorities of Camden, and 
the Roumanian Government, the 
United States Immigration au- 
thorities declare that he was born 
in Roumania. 



SUPPOSE someone suddenly in- 
formed you that you were to be 
given a featured part in a million- 
dollar motion picture at a salary you 
never dreamed of, and added that you 
would have to leave for Africa within 
seventy-two hours. Could you prove in 
that time that you had been born in the 
United States, so that you could get a pass- 
port? And if you could not prove it, but were convinced 
that you were a citizen — what would you do? 

That is the situation in which Duncan Renaldo found himself 
when Metro executives informed him that he was to go to Africa 
to play the young lover in "Trader Horn." He had to have a 
passport, and as he could not produce proof of citizenship, he 
took the oath of allegiance, secured an affidavit from a friend 
who had known him for years, and declared he was a citizen. 



Top, Duncan Renaldo to-day, worried 
about what will happen if his appeal 
fails. Center, as a private in the 
National Guard in 1923. Above, he is 
second from the left in a group of 
privates at the same training camp 



B' 



"A Man Without a 
Country" 

UT Renaldo is in a peculiar 
position, for the Roumanian 
Government declares he is not a 
citizen of that country and was not 
born there. Out on bail, pending 
an appeal, he wanders about the 
streets of Hollywood, a man with- 
out a country. He cannot prove where he was born; he cannot 
even prove what his name is, for he says he is Renault Duncan, 
while the American Government declares he is really "V'^silie 
Dumitreu Cucghianaes." 

Roumania refuses to allow him to be deported to that coun- 
try'; America refuses to allow him to remain here. 

I asked him, "If you should lose your appeal and have to 
{Continued on page "jf) 



60 



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61 



O famous Stars 




omniexions 



that 
fascinate 




even in a snapshot 



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62 




enlargement 



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Snapped by 
JOHN BOLES 

at the 

Cocoanut Grove 

in Hollywood 






Soap 



— The Beauty SoapOj 




63 




Lee l\Iiller 



Germany Sends Us 

Another BlONDE VeNUs! 

Ten thousand Germans wept when LiHan Harve}' left BerHn for Holh-^vood. This 23- 
year-old blonde \''enus was a movie queen in three languages abroad; she was at the top 
of the heap. But, once she reached the top, there wasn't an}'where to go — except "to a 
new country, to start a new career." So here she is, all ready to say "It" Avith music! 



By CRUIKSHANK 



EUROPE'S movie queen wept when she left Berhn 
to become a movie princess in America. In fact, 
take Ernst Lubitsch's word for it, the pavement of 
the station was wet with her tears and those of 
the myriad followers who journeyed from far places to bid 
her "Auf Weidersehen." For LiUan Harvey, with Europe 
at her dancing feet, was starting on a new adventure, and 
the world that was to be conquered was a strange one, 
different in modes and manners from both Continent and 
Isles. It was a big step, a daring one, a sad one for a five- 
foot-three, hundred-pound damsel. And it's no wonder 
that she sobbed into microphones a final plea for the affec- 
tions of the Vaterland. 

"Please do not forget me!" she whispered, and, take 
Herr Lubitsch's word for it, ten thousand of the faithful 
pledged tearful allegiance. 

But when Lilian Harvey arrived in Hollywood, she greeted 
the climate with a smile that warmed all hearts. It was a happy 

64 



landing, and a regal one. For Lilian's entrance was that of a 
real movie star. There were the forty trunks— well, twenty 
anyway — the French maid; the low, rakish, specially built, 
glistening white foreign racer; the smartly uniformed chauffeur; 
and Josef Strassner, designer-by-appointment-to-Milady, who 
creates all that she wears from shoes to hats. 

Lilian is sufficiently the star to regard such an entourage as 
all-in-the-day's-work. There's no swank about it. She has 
been a Grade h. celebrity too long, despite her scant twenty- 
three years. Years, incidentally, that she doesn't look. 

For Lilian has poise, but no pose. She is utterl}- natural, yet 
in odd contradiction to her seeming self-sureness, she possesses 
an ingenuous quality of wide-e\'ed innocence and surprise. 
Those wide eyes, by the way, are set at the slight suspicion of 
angle, which might suggest Garbo, except for the piquant oval 
of her face. Her eyes are a clear, corn-flower blue, and the 
special blondeness of her fluffy hair is a natural blondeness. 
{Continued on page g2) 



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65 



The Picture Parade 

REVIEWS OF THE NEWEST PICTURES 




42nd STREET 

Real Hit — Ruby Keeler Scores: Once in a 
blue moon we get a screen picture of a 
theatrical performance which is not only a 
good picture, but a good theatrical per- 
formance. The chorus numbers and songs, 
especially the honeymoon pullman car set, 
would be a hit in any Broadway musical 
show, and Ruby Keeler's dancing has 
already been proven on Mazda Lane. 

The story itself, built around the back- 
stage lives of the principals in the show, is 
filled with incidents and excitement, and 
the suspense when, at the last possible 
moment, the unknown and shy little 
chorus girl is pushed into the place of the 
leading lady (Bebe Daniels) is real and 
gripping. 

Warner Baxter does a superb piece of 
work as the sick director, flogging himself 
and his cast mercilessly to put the show 
across but it is to little Ruby Keeler of the 
miraculous feet and shining eyes that the 
big hand goes. We'll be seein' ya Ruby! 
Guy Kibbee amuses as the show's "angel." 




CAVALCADE 

To See It Is A Memorable Experience: 

"Cavalcade" is the talkies' greatest 
achievement. It is THE ONE picture 
that anyone who sees it will never forget, 
no matter what his nationality. 

It is British in characters and settings, 
but it tells a universal story: a story of a 
sensitive, strongly-knit family whose lives, 
for better or for worse, are bound up with 
their country's life — in war, in peace, in 
happy times, in sad times. It unfolds 
against a vi\-id pageant of English history 
since New ^'ear's Eve, 1899. It contains 
every mood, every emotion; it creates 
moods and emotions. It tears at the heart 
with its beauty. 

From beginning to end, the large cast is 
British; and. from beginning to end, they 
live their roles. Chief of them all are Clive 
Brook as Robert Marryot, and Diana Wyn- 
yard as his wife, Jane, both of whom age 
gradually o\er the thirty years that the 
story covers. Miss Wynyard, in particular, 
inspires with an inspired performance. 




THE KING'S VACATION 

Fine Picture — Human and Appealing: 

Witty and elegant is this latest Arliss opus, 
though hardly calling upon the artistic 
abilities of the star. A king, who did not 
expect and has never enjoyed his kingship, 
is convinced that his people would be 
better off under a republican rule. He abdi- 
cates joyfully, is divorced by his under- 
standing queen and returns to the romance 
he was forced to renounce eighteen years 
before. 

What he discovers about the effect Time 
has on romance, and about his own heart, 
the picture proceeds to tell in charmingly 
sentimental episodes that have both 
smiles and tears. 

Mrs. Arliss does a beautiful piece of 
work as the woman who, through eighteen 
years of court ceremonials and a queen's 
duties, had always longed to do her own 
shopping and pour tea at a quiet fireside. 
It is a delightful picture of charming 
people. But why not give Arliss, who 
is a great actor, some acting to do? 




NAGANA 

. Fantastic — But Has Thrills: A crazy quilt 
but, oddly enough, good entertainment. 
The story of the beautiful and silken 
woman who follows Love into the African 
jungles is so incredible that it verges on 
the ridiculous at times. Causing the 
suicide of one lover, the death of a native 
king, and a stampede of wnld animals, the 
heroine — played decoratively by Tala 
Birell — is finally rescued from the croco- 
diles by the doctor, who has risked his life 
in the wilds to discover a cure for Nagana 
(sleeping sickness). 

The plot risks comparison with a recent 
picture built around a physician's sacrifice 
for science. The wild animals furnish the 
thrills, not the human actors. Before our 
very eyes a lion is killed, a puma speared, 
two crocodiles engage in mortal combat, 
leopards fight and beasts leap on men. 
Theatrical — and not very good theatre — 
still it will hold you. 

Melvyn Douglas helps Tala to prove 
that she has considerable promise. 



66 




THE SECRET OF MADAME 
BLANCHE 

Old-Fashioned — Maybe You'll Go For It: 

As old-fashioned as the 1890 costumes that 
she wears, is the plot of this drama, which 
furnishes a new excuse for the much- 
abused Irene Dunne to suffer through 
seven reels of trouble. Its greatest virtue 
is the revelation (in the scenes where the 
heroine is an actress) that Irene has a 
glorious voice, heretofore hidden. 

As for the plot, it is filled with cruel 
parents, secret marriages, a betrayed girl 
and a chee-ild without a father. Even 
though she wears bustles, puffed sleeves 
and Merry Widow hats, we know that the 
heroine as she stands in the prisoner's 
dock, self-accused of murder to shield the 
son who doesn't recognize her, is none 
other than our old friend Madame X. 

But the director has managed to photo- 
graph more than the outworn behaviorism 
of a bygone day. He has also photographed 
the prejudices and priggishness, and the 
social standards of only a few years ago. 
{More Reviews on page 68) 




BLONDIE JOHNSON 

Gangster Storv OJ Gal Bandit Has Its 
Moments: We had thought that every 
variation of the gangster theme had been 
worked, but here is a new one. a female 
Capone who bosses her gang of masculine 
and feminine racketeers with a surprising 
flow of language and a toss of a blonde 
head. Joan Blondell keeps things alive 
while she is on the screen, but without her 
the action drags. 

Chester Morris, as the boy-friend who 
tries to doublecross the lady gangster and 
is coolly put on the spot by her, has a 
familiar role, and Allen Jenkins is funnier 
in every picture. 

But the promising situation doesn't 
quite jell into a convincing story. Perhaps 
it is because, despite the novelty of a^girl 
gangster, the machine guns, pent-house 
rendezvous and patter are all vaguely 
familiar, so that one often has the sense of 
having seen the picture before. 

Wonder if they're trying to make Joan 
into a feminine version of Cagne>? 



C,0£n the Jopkt^tlcated 1) u ' i ' 

WON A LOVELIEK COMPLEXION THKOUCH 

HALF-FACE BEAUTY TEST 




prominent dermatologist of Paris, declared of 
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Since the days of the Roi Soleil, the 
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Yet even sophisticated Parisiennes ex- 
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Jeunes filles.temmes de families, femmes de commerce, femmes du monde— took the Half-face Beauty Test 
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skins, the best remedy for skin ailments." 

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MORTON DOWNEY — DONALD NOVIS — and 
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67 



The Picture Parade 

REVIEWS OF THE NEWEST PICTURES 

{Continued from page 66) 




GRAND SLAM 

Novelty Should Appeal To BruJjie Fans: 
It was probably because we ourselves do 
not play bridge that we found this Httle 
comedy only mildly amusing. Talk of 
"systems" and "bids" and the spectacle of 
two experts battling with clubs and spades 
while a radio broadcasts the championship 
battle to a breathless world will undoubt- 
edly appeal to bridge players — and there- 
fore to most audiences. 

Advertised as the ".Sweethearts of Con- 
tract Bridge," the heroine, Loretta ^'oung, 
and the hero, Paul Lukas, are obviously 
patterned after a certain famous bridge- 
playing couple in real life. The husband, 
knowing nothing about the rules of bridge, 
invents a system of his own which works 
with amazing success — until it almost 
loses him his wife. Then he confesses him- 
self as a fake to the world — and runs away 
from Bridge with her to the Arctic, where 
they are about to start a game of contract 
as the picture ends. Pleasant, if unim- 
portant. 




SHE DONE HIM WRONG 

Mae West — And A Vivid Picture: Sex 

that makes all other sex pictures seem 
puny and pale! Mae West's unabashed 
performance of a mistress of the Nineties is 
one of the most startling characterizations 
seen on the screen this year. She does not 
play a lady of dubious morals. There is 
not the slightest doubt about the morals of 
Diamond Lil, who lives in a bedizened 
apartment over a saloon, and has a nude 
painting of herself hung above the bar 
below. She sings frank songs in the beer 
garden re\ue, and nearly e\ery line she 
speaks has a double meaning. Vet with 
all the bra%ado there is something honest 
and vital about this picture which robs it 
of offense. And whatever you may think 
of the sensational career of the heroine 
with her gowns, parasols, jewels and droop- 
ing glances you will cheer the presence of 
Mae West's colorful personality in the 
movies. 

Gary Grant, Gilbert Roland, Owen 
Moore and Noah Beery all help nobly. 




STATE FAIR 

Colorful Comedv-Drama, With All-Star 
Cast: ".State Fair" is the talkies' first big 
attempt to paint the rural American scene 
of to-daj'. And to see it is like going back 
to the soil for a rest. That's how refresh- 
ing it is to get away (at least briefly) from 
skyscrapers and underworlds, underdressed 
sirens and overdressed racketeers. It 
is amusing, colorful and restful. 

What you do is to follow the fortunes of 
Ahel Frake (Will Rogers) and his family 
(wife Louise Dresser, daughter Janet Gay- 
nor and son Norman Foster), when they 
go to the big Iowa fair to exhibit a prize 
hog. At the fair, Janet meets Lew Ayres; 
Norman meets Sally Filers — and there, 
in short order, Romance looms up. And 
then they return home, to which Will's 
crony (Frank Craven) has wagered at 
least one of them will come back unhappy. 

Rogers, Craven and Blue Boy (the hog) 
are bound to get laughs. And the Gaynor- 
Ayres romance measures up to Gaynor- 
Farrell standards. 




LUXURY LINER 

Worth Your While — See It: Against the 
background of a luxurious steamship the 
tangled loves of two men and two women 
work themselves out in the words and ac- 
tions of pure melodrama. George Brent 
makes a gallant effort to make the doctor 
who follows his runaway wife aboard plausi- 
ble, and Zita Johann is effective as the 
nurse fleeing from the memory of great 
tragedy, but inept dialogue and lurid 
situations bring them perilously close to 
the ludicrous at times. 

Far better are the secondary characters 
— C. Aubrey Smith as the ex-millionaire 
and Alice White, as the little gold-digger, 
who coaxes and cajoles her way from 
tourist third to first class only to find that 
she belongs down below after all. This 
White girl is a nugget. Her cuteness and 
tricks, and the always glamourous back- 
ground of life aboard a luxurious liner 
make the picture worth while. 

Zita Johann, one of the screen's few 
brunettes, is a striking new personality. 

68 




THE PAST OF MARY HOLMES 

Well Acted — W orth Seeing: Hampered at 
the start by competition with "The 
Goose Woman," this newer version may 
not receive credit for being as good a pic- 
ture as it is. Beglamoured recollections of 
Louise Dresser as the degraded ex-opera 
star, and Jack Pickford as her son will 
probably obscure the excellent work of 
Helen MacKellar and Eric Linden. 

The distressing squalor, which forms the 
background for most of the scenes, persists 
in the onlooker's mind in spite of a rather 
hasty and unconvincing happy ending. 
While the transition of the dirty, slatternly 
goose woman into the radiant likeness of 
her former self, under the stimulus of 
publicity, is a trifle unconvincing, yet the 
picture sustains the interest throughout. 

Miss MacKellar is definitely a screen 
find, though the question inevitably rises, 
why send to Broadway when we still have 
Louise Dresser? 

In this picture, Jean Arthur makes a 
notable return to the screen. 




HELLO, EVERYBODY 

For Kate Smith Fans Only: This simple 
tale of the farm girl whom everybody loves 
for her goodness of heart was woven to fit 
the plump personality and talents of the 
radio songbird, Kate Smith, by that expert 
in heart throbs, Fannie Hurst. 

But Fannie must have written it on one 
of her off-days, because it doesn't do much 
for Kate except to gi\"e her a chance to 
sing and be good-natured. 

The Pride of the X'illage fights a power 
trust which wishes to buy up her home 
valley and submerge its farms and homes 
under a huge dam. Discovering that her 
voice, which has been heard by a radio 
scout at a rural picnic, is worth money, 
Kate goes to the great city and sings'^ the 
mortgage off the old farm and licks the 
power trust. Randolph Scott and Sally 
Blane carry the romance — Kate having 
to struggle along without a love-life. 

Her jo\'iality is contagious and she can 
certainly sing. But she doesn't act. She's 
just herself — Kate Smith, in person. 



I N 3 DAYS 

Red, rough 
hands 

muae so/l, wmie, \ 
a/lurUm... 

Painful chapping relieved instantly 

"nn hat's the girl I've been looking for all my life!" 
X he thought as she entered the room — beautiful, 
poised, exquisitely gowned . . . 

A murmured introduction ... he asked her to dance. 

Quickly he glanced at her hands to see if she wore 
a wedding ring. What a shock! Coarse, red hands 
that cried "Scrubwoman" — not "Romance." He fin- 
ished the dance — interest gone. 

It's tragic, when only 3 days of Hinds care would 
make those hands soft, white, baby smooth . . . the 
kind of hands men love. 

Why hands get rough, coarse 

Housework means putting hands in and out of hot 
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and cracks Open skin. Hinds puts back these precious 
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What the "second skin" is 

And then. Hinds leaves an in- 
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69 



Marlene Dietrich Tells Why She Wears 

Men's Clothes 



cedar closets. She has street suits, tuxedos, 
as well, and a dinner coat for special occa- 
sions. These suits are no cheap jersey or 
flannel slacks, no flannel sports coats made 
to look mannish. They are expensively 
tailored, padded-shouldered, men's-wear 
suits, with only this difference — the coats 
are fitted to Marlene's feminine curves, and 
the trousers are closed to one side, as a 
tailored skirt would close. Otherwise, in 
every detail, they are men's suits. 

What's Astonishing About It All 

THE most astonishing thing about this 
one-woman dress reform movement is 
that it should have originated with a beau- 
tiful film star, famous for her femininity, and 
especially for her beautiful legs, which she 
now conceals with the wide, long trousers of 
the male mode. If it had been launched by 
some homely or aging freak, some reformer, 
some feminist seeking to claim all men's 
rights, or some girl-athlete, long on muscle, 
but short on sex appeal, it would not have 
been so unexpected. 

But for such a movement to be started by 
the lovely, languishing Dietrich — the old- 
fashioned mother Dietrich, who had to have 
her little girl with her before she could begin 
to be happy in Hollywood — the wife Die- 
trich, who loves to cook for Herr Sieber those 
delectable German dishes, the concocting of 
which is the pride of the German hausfraii — 
the Dietrich who can take a yard of feathers 
and look like the most ravishing Lorelei ever 
put on the jumping celluloid — well, it's just 
too much. 

There has been a storm of gossip, not all of 
it nice, that has surged about those trousers 
of Marlene's. When Marlene appeared at 
the premiere of "The Sign of the Cross" in 
regulation tuxedo suit, with a man's felt 
hat with a wide brim pulled over one eye, 
and a long black topcoat, gloves in hand, 
also mannish, and accompanied by Maurice 
Che\'alier, Hollywood's breath stopped en- 
tirely for a few seconds. 

As the couple went to their seats, there 
was some discussion between them as to 
whether Marlene would occupy the seat on 
the aisle, the man's seat. Chevalier insisted 
that she take the inside seat. At intermis- 
sion, Marlene, nothing abashed, went into 
the foyer, and graciously posed for the 
photographers, even doing a few high, wide 
and handsome kicks in the spirit of fun, to 
demonstrate the freedom of the knees be- 
stowed by the trousers she was wearing. 

Close-Up of New Dietrich 

IT was a most feminine and disconcertingly 
charming Dietrich that greeted me the 
following day in her dressing-room at the 
studio, where she was preparing for "Song 
of Songs," her first venture in films without 
the direction of her mentor, Josef von 
Sternberg. The large, beautifully-formed 
eyes were accented by long sweeping lashes, 
plentifully mascara-laden, and shadowed. 
The mobile lips were carefully rouged. Long 
fingernails, carefully kept, were carmined, 
accenting the graceful droop of the soft 
white hands. Blonde hair, carefully waved, 
snug to the head, disappeared under a neat 
black tam worn over one eye. 

All utterly feminine — and then, for con- 
trast, the square, padded-shouldered mas- 
culine suit, the white wool sox, worn like a 
man's, with high tops, and soft kid, square- 
toed oxfords, with a small flat heel and en- 
tirely bereft of feminine embellishments. A 
man's shirt, four-in-hand tie — and that was 
Dietrich. 



{Continued from page 5s) 

"Are you aware of the gossip going 
around, concerning your wearing of men's 
clothes?" I popped, waiting for the Olym- 
pian frown and the lightning bolt, with 
what stoicism I could summon. 

"I do not hear gossip, so you see it is 
easy for me to ignore it. I go about very 
little — always with a few friends, who are 
used to my clothes. I have been to four 
parties in the last three years. Yes, I know 
there have been some articles in the papers. 
The public is always excited over something, 
anyway. First, I uncovered my legs, and 
people were excited over that. Now I cover 
them, and that excites them, too." 

Director and Husband Approve 

" TT has been said and printed that Mr- 
J. von Sternberg, your director, has quar- 
reled with you because of your wearing 
trousers. Is this true? Does he disappro\'e 
of them?" 

"This is very silly. It is not true. Mr. 
\on Sternberg adores them. He thinks 
them more feminine on me than dresses. 
\'on knows I am sincere in my preference for 
men's clothes, that I do not wear them to be 
sensational." 

"And Herr Sieber — how does he feel with 
two pairs of trousers in the family?" 

"Of course, he likes my clothes. After 
all, we ha\e been married for nine years, and 
he knows that I ha\e always preferred such 
clothes. In Europe this is not unusual — 
there are man\- tailors there who specialize 
in such clothes for women. I have worn full- 
dress suits to parties before now." 

"You are such a feminine type of woman 
— do soft, rich fabrics, and furs, ha\"e no 
lure for you? " 

"No, I ne\'er liked such things. I must 
wear them on the screen — but even my 
negligees have always been tailored, for my 
own use." 

' " Do you — er, if we may be so personal — 
don't you ever wear fussy underthings — you 
know, with lace and things on them?" 

"With these suits, I wear no underwear 
but tailored, mannish silk shorts. That is 
one of the wonderful things about wearing 
•such clothes, too — there is a sense of perfect 
freedom and comfort. I never was com- 
fortable in one single dress that I have worn 
in all my life. If you should ever wear these 
clothes, you would always prefer them for 
the comfort they give. Your movements 
are freer in them, you are fully clothed in 
any posture, without fear of having to pull 
down your skirts, or of having a 'run ' 
start in your stocking. It bestows a feeling 
of poise, of well-being. You are not con- 
scious of clothing." 

" In your life, do you feel that there is any 
time or place for feminine garments?" 

"No — except on the screen." 

Finds Trousers "More Alluring" 

""T^ON'T you feel the urge to be alluring, 
J^V to dress up sometimes in flufTy 
ruffles?" 

"I think I am much more alluring in 
these clothes." Here Miss Dietrich pulled 
out a snapshot of herself in her mannish 
garb. " I never can look like that in wom- 
en's clothes," she said, eyeing the snap 
fondly. " Here is another one — they tell me 
this is I, but I am sure I can never look like 
that," she said, laughing, as she held out a 
most unflattering newsprint purporting to 
be of herself, in men's clothes. 

"Women's clothes take too much time — 
it is exhausting, shopping for them. Then 
there are hats, there are shoes to match, 



there are handbags, gloves, scarves, coats, 
all those accessories." She shrugged her 
dainty, but padded shoulders. "I could 
never find the time nor the interest for all of 
that. Those things require so much study, 
such discriminating selection, with all that 
matching that is required — no, for me it is 
impossible. 

"Then the styles change — and it must all 
be done over again, every few months. It 
is very extravagant to dress as most women 
do. Men's clothes do not change; I can 
wear them as long as I like. People say that 
it is because I am economical that I buy 
these things. That is not exactly true. I 
like to be extravagant sometimes. If I want 
something, I have it. But I do not like to 
have so much of my time and energy taken 
up with something in which I have so little 
interest, as clothes. These clothes that 1 
wear just suit me. I have a fanatical love 
for modern things. I will only live among 
modern things in my home. 

"Yes, it is true that I have similar suits 
made for Maria, my daughter. I find that 
at the beach, and in fact anywhere that she 
is playing outdoors, she is so much better 
protected in trousers than in skirts, ^^'ith 
dresses, there is the worry of sweaters, and 
coats and all the rest of it. Her bare legs are 
likely to chill. In trousers, she is free and 
protected. Of course, she enjoys them — 
and she has a child's delight in dressing like 
mama. She also has other clothes — con- 
ventional little-girl clothes — when she 
wishes them. 

Trousers a Sequel to Pajamas 

I HAD no idea when I started wearing my 
tailored trousers that I was starting 
anything for other people. Many women 
have been wearing slacks, and before that, 
pajamas, so it seems to me that my clothes 
are a logical conclusion to these. I started 
wearing these clothes for my own satisfac- 
tion. I do not believe that they suit every 
woman. I think that a woman must be the 
feminine type, and she must be tall, prefer- 
ably with square shoulders and narrow hips, 
to wear men's clothes well." 

Whether Frau Sieber thought she was 
starting something or not, the fact remains 
that she has. The smartest women's shops 
are now featuring just such suits for Spring 
wear. The suits come with both trousers 
and tailored skirts; sometimes with a man- 
nish topcoat as well. Mannish shirts and 
ties are worn with these suits; also, sweaters. 

Dietrich's own wardrobe includes a tai- 
lored skirt for every trouser suit, just in 
case. Some of them are divided skirts, some 
simply the conventional tailored skirt. Her 
preferences lean to grays in hard-finished 
serges and herringbone weaves. 

"I started wearing these men's suits in 
public places last summer," said Marlene. 
" It was purely a matter of convenience. I 
live at the beach and would dress in them 
for the day. After dinner, often my hus- 
band and Mr. von Sternberg would wish to 
go up to the Boulevard to see a show or a 
picture. I would be tired, and plead that I 
did not wish to go, because I would have to 
change all my clothes and dress and be un- 
comfortable. They urged me to come as I 
was — and so it began. Well, the public is 
always excited about something, always 
seeking something new to discuss. I don't 
mind. I only hope other women try them 
and find the comfort I enjoy in them, free 
from all the constrictions of the conven- 
tional women's wear. I know they'll never 
go back to skirts." 



70 




..NEVER! 



Nor did she need to 



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71 




Wise 



saved her 



35 

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Gable Answers Your Questions ! 



{Continued from page ^y) 



Where did you find such a charming wife? 
Mrs. Gable and I met in New York City 
and were married there. 

To what do you attribute your success in 
motion pictures? Largely to lucky breaks. 

Do you ever read movie magazines? Yes, 
I read almost all of them. 

What do you plan to do after your life of 
ten years as a movie star is over? Do you plan 
to go into any other type of work? Yes. I 
don't think I could be happy as a loafer. 
The kind of work I take up will depend on 
my age, the amount of money I've been 
able to save, and business conditions at the 
time. 

11-7/0/ feeling do you experience ivhen you 
see yourself on the screen? The sensation is 
very strange. I feel detached, as though I 
were watching another person. 

What is your favorite pet? A dog. I own 
an Irish setter named Queenie. 

Do you make a hobby of collecting any- 
thing? Yes. I have so many pipes, of all 
kinds, that they clutter up the house. 

IIo7i' long do you plan to stay in movie 
work? Just as long as there is a demand for 
my services. I don't know of anything that 
will pay me as much money or give me as 
much real enjoyment. 

Do xou have a secretary to open your mail? 
Yes. 

What do you think personally of some of 
the things the reporters and publicity men say 
about you — "Hot-Cha Gable," "What-a- 
Man Gable." etc? Sometimes I'm amused, 
sometimes I'm amazed. 

]\'hat kind of rifie do you prefer for deer 
shooting? A .30-caliber rifle with high ve- 
locity and great shocking power, because I 
think any real sportsman should try to avoid 
the chance of wounding game and leaving it 
to die of starvation. A .250-. 300 or some of 
the .270-calibers are also very satisfactory. 

Why do you wear those turtle-neck .sweaters? 
Don't you know they're frightfully unbecom- 
ing to you? Perhaps they are, but I think 
comfort is more important than appearance. 

What color clothes do you like? Grays and 
blues. 

Do you really enjoy the love scenes you 
enact, or would you rather take an active he- 
man's part without any love-making? Love- 
making is a normal part of an active he- 
man's life, isn't it? 

Of all the pictures you have made so far, 
which did you enjoy working in the most? 
"Hell Divers." One of the most interesting 
experiences of my life was working with the 
naval fliers at North Island. 

]'\'hat type of role would you like to play and 
what kind would completely satisfy you? I'm 
especially anxious to do a light comedy role. 
No one role would 'completely satisfy' me 
for I want diversity. 

Which is the best picture you've ever played 
in? In my opinion, it's a toss-up between 
"The Secret Six," "A Free Soul" and "Pos- 
sessed." 

Hoiv much does Joan Crawford weigh and 
what are her measurements? I guess Miss 
Crawford will have to answer that one. 

If a young felloiv came to you and asked for 
advice, meaning life in general, what are the 
points you would particularly stress? A 
strong will, ambition and plenty of courage. 

M'ere you ever o)i Broadway? Do you like 
it? Yesj I played in "Machinal," "Hawk 
Island," "Gambling" and "Blind Windows" 
on the New York stage. I like New York. 

Did you enjoy playing opposite Joan Craw- 
ford in "Possessed"? I certainly did. I 
think Miss Crawford is one of the screen's 
finest dramatic actresses. 

What is the real color of your hair? Your 
eyes? My hair is dark brown. My eyes are 



Joan Crawford picture? The studio has no 
definite plans for one just now. 

Is it true that Airs. Gable lias a grand- 
daughter old enough to be a college student? 
No. 

Who was your first wife, and when were you 
married? Josephine Dillon. We were mar- 
ried soon after I went on the stage. 

Hoia do you like California? California 
would be an Eden if a person had time 
enough to enjoy it. 

One so often hears the saying, 'It gave me 
the biggest thrill of my life' — and I want to ask 
you what incident gave you the biggest thrill 
in REAL life, as compared to your biggest 
thrill in REEL life. The biggest thrill of 
my REEL life was an explosion that oc- 
curred during the making of "The Painted 
Desert" when a whole mountainside was 
dynamited and the entire picture troupe 
escaped only by a miracle. The biggest 
thrill of my REAL life, I believe, was the 
day not long ago when I shot my first deer. 
Always before, I had stood by amateurishly 
while others bagged the game, but on this 
day, in the mountains South of Los Angeles, 
I brought down a fine buck. 

Wliat is your idea of "It"? It's a certain 
indefinable personal magnetism. And it 
doesn't depend on beauty, either. 

Did you fall in love with Jean Harlow 
while making "Red Dust"? No. I admire 
Miss Harlow, but I didn't fall in love with 
her. 

What is your conception of a good stock 
company to join? One that has a wide reper- 
toire and presents a new play every week or 
so. 




gray 



When will we have another Clark Gable- 



Harry Cooper, famous golf pro, gives 

Clark Gable sonne pointers. Clark is in 

his uniform for "The White Sister" 

Are all the actors and actresses of the screen 
highly educated? No. We have our quota of 
college graduates, but most of us have only 
the most ordinary educations. 

What is the easiest and quickest way for a 
girl to get into the moviesl Via the stage. 
Motion picture scouts are always watching 
the legitimate theatres for new talent. 

How did you become an actor? I had a job 
as call boy in an Akron theatre and the di- 
rector gave me a chance to play a bit. 

Who is your closest friend? I consider Joe 
Sherman,' of Metro-Goldwyn-Mayer, my 
closest friend. 

Are you eager to welcome old acquaint- 
ances — those whom you knew before you be- 
came famous? Always. Some of the happi- 
{Continued on page 74) 







Madeleine Ingalls, above, 
tells the story of her discov- 
ery about stocking ivear. 



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73 




"Hold back the crowds". That's Avliat 
you almost expect. You feel so radiant 
— so beautiful. You have so much 
pep when your digestion is good. 

But lots of people have a little indi- 
gestion without knowing it. They 
don't realize what makes them feel 
tired and restless. That's why so 
many chew Beeman's regularly. It's 
a delicious chewing gum that helps 
keep your digestion "just perfect". 
Chew it every day. 

Chew 

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Gable Answers Your Questions ! 



(Continued from page J2) 



est moments of my life have been spent 
renewing old friendships. 

Did you knoiv Gladys Bozlee, the dancer? 
No, I don't believe I've ever met Miss 
Bozlee. 

What do you think of the publicity given 
Marjorie Miller Sharpe as your first siueet- 
heart? I think it is fine and I'm glad and 
proud that Marjorie remembers me. 

Hoiu do you spend your week-ends? When 
I'm not working, I usually play golf or go to 
the desert or the mountains. 

Why is it that you are the only tnan in the 
world I have any desire to kiss or to be kissed 
by? Well, really .... 

Is married life happier than a single one? 
Yes, certainly. Although I guess there are 
exceptions to that rule. 

Wlw was "Poppy" that played opposite 
you in " Shangliai Gesture" in Chicago? I 
never played "Shanghai Gesture" in Chi- 
cago. 

How would you like to put on the old logs 
and sneak up on a big, scrappy trout at 
Buck's Lake? That sounds mighty good to 
me. 

Who are your friends, off the screen? Mrs. 
Gable and 1 are very friendly with Mr. and 
Mrs. W. G. Taylor, Dr. and Mrs. E. C. 
Jones, Mr. and Mrs. Joe Sherman and 
Howard Strickling. 

Do you remember me? (This query is 
signed by Mary Culver of Hondo, Cali- 
fornia.) Of course, I do. 

Do you remember Wilson and Ray Hoover 
and Zeke and Bill Wenner, whom you knew 
when you lived at Hopedale, Ohio? Yes, I re- 
member them very well, but as I remem- 
ber, Wilson and Ray were named Hoopler, 
not Hoover. 

Do you get a kick out of kissing a movie 
actress playing opposite you? No, I can't say 
I do. After all, an actor is working when he 
is in front of the camera, you know. 

Why don't you play in a picture with Con- 
stance Bennett? Miss Bennett is under con- 
tract to Radio Pictures, while I'm under 
contract to Metro-Goldwyn-Mayer, an en- 
tirely different studio. 

/ read in a magazine that you do not like 
pictures in which you have to wear evening 
clothes — is that a fact? Not necessarily. I 
don't object to evening clothes now and 
then, but I don't want to be typed as a 
drawing-room actor. 

Really, Clark, do you have to be pretty to 
get into the movies and is it hard to get in? 
It is difficult to break into pictures, but 
beauty is not a necessity. Few great stars 
have been perfect beauties and there are 
all sorts of parts, you know. 

Do you see the pictures you play in and do 
you go to many picture shoivs? I see all my 
pictures, and I never miss an outstanding 
movie. I enjoy pictures and I can always 
learn by watching my own mistakes and 
other actors' work. 

Do you play the pipe organ? No. 

Do you remember Mr. and Mrs. Runyon, 
Andy Means and his mother, Dr. Parkhill, 
Frank White, the Laceys, the Williamsons 
and Charles Smith? We all lived on Getz 
Street in Akron. (Signed by Mrs. Mary 
Runyon, with the note that she was Clark's 
landlady.) Of course, I remember you and 
I hope that some day we can have a grand 
reunion — in Hollywood, if not in Akron. 

Do you remember a druggist from Akron 
7tamed Louie Grether, the one you left your 
mother's pictures with? Certainly, I remem- 
ber Lome. Please tell him I'm writing to 
him immediately. 

Did you ever work on Carl Stieiver's farm 
near Salem, Oregon? Yes, I worked there 
about nine years ago. 

What is your favorite color? Wine red. 

Have you any objectioti to playing roles in 



costume? No, but I wouldn't want them as a 
steady diet. 

When taking the part of a lover in your 
pictures, does it have any effect on your per- 
sonal emotions? No. 

Why do you prefer your pipe and working 
around your car to social activities? I'm just 
not socially inclined, I suppose. Even as a 
boy in school, I wasn't. 

Do they give you much time for rehearsal 
before starting a picture? No, imfortunately. 
They do whenever possible, but things 
move so fast in Hollywood that sometimes 
I learn from the papers on Friday that I'm 
to start a new picture the next week. 

II7;/(7( do you like best — blondes, redheads 
or brunettes? Each type has its own fascina- 
tions. 

Why don't you answer your fan-mail per- 
sonally — no alibis but the straight truth? It 
would be a human impossibility. I receive 
an average of at least one thousand letters 
a week. Even if I devoted all of my time to 
it, I could not read and answer that many 
letters. 

Do you read all your fan mail? I've 
answered that question. 

Do you have the privilege of choosing the 
pictures you play in? No, the studio execu- 
tives decide that question. 

What do you do at a Hollywood party? 
Just about the same things you do at your 
parties. Hollywood parties are not very 
different from those anywhere else. 

Are you really a cave man or are you a 
quiet husband who likes to stay home of 
evenings with your wife? I spend most of my 
evenings at home — in my own cave. 

Do you really enjoy playing roles such as 
you played in "Red Dust" and "Possessed"? 
i enjoyed both of those parts. 

Did you have a motorcycle 'way back in 
191 5 or igi6 in Hopedale? One day we had 
a blowout at the triangle in Hopedale (my 
home is in Steubenville) and I think it was 
you that the hoys called "Gable." Even after 
all these years I still remember that blow- 
out in Hopedale, when we all tried to help. 
That motorcycle was the pride and joy of 
my heart. 

Do you brush your teeth three times a day 
and see the dentist twice a year? I brush my 
teeth more than three times a day and see 
the dentist more than twice a year. 

Why do you wear Jodhpurs? — / thought 
they were only for girls. Really, I'll have to 
look into this. 

What is your personal idea of Greta Garbo? 
I think Miss Garbo is one of the great 
actresses and a very magnetic personality. 
Personally, she is charming. 

Is it necessary that your most intimate 
feelings and the most trivial things about your 
personal life be dragged into publicity? I 
don't think so. But I'm grateful for the 
interest that prompts such publicity and I 
try to cooperate. 

When and how did you learn to swim and 
dive? When I was a boy on the farm near 
Hopedale. In the "old swimmin' hole." 

// your stepsons were girls, which type 
woidd you want them to be — quiet or full of 
pep? I would want them to be normal — in 
other words, a combination of thoughtful- 
ness and pep. 

Have you been chosen to play the lead in 
" The White Sister"? Do yoti think you're the 
type to play the gentle Italian officer? Yes, 
I'm playing the part. I think I am, as I'm 
assigned. I feel the part keenly and^hope 
that I won't seem miscast. 

Do you feel that you're rewarded for all the 
effort you put into your pictures? — / don't 
mean financial reward entirely. Yes. Putting 
aside all financial consideration, I've been 
richly paid. I like my taste of success. 
(Continued on page jO) 



74 



->C CLAUDETTE COLBERT, in Paramount's "THE SIGN OF THE CROSS" 

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COMPIEXION 
FAIR _. 


EYES 

BLUE. 

GREY..-.. 
HAZEl- 
BROWN-.. 
BIACK... 


HAIR 


SKIM 
DRY. 

OILY 

NORMAL... 


BLONDE 
LIGHT. ...OARK_. 


NAME 


CREAMY 

MEDIUM 

RUDDY 

OLIVE 

SUN TAN 


BROWNETTE 
LIGHT DARK_ 


LIPS 

MOIST.._. 
DRY 


ADDRESS 


BRUNETTE 
LIGHT....DARK... 


lASHES 
LIGHT.. 
DARK... 


CUT 


ACE 


REDHEAD 
LIGHT..._DABK_ 


SIAIE 2-4-60 



75 




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Dissolves completely without 
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<S; 



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the weavers of fine Biltmore Hand- 
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99i^7o PURE 



Gable Answers Your 
Questions ! 

{Continued from page 74) 

What is the name of your horse? I don't 
own a horse just now. The one I usually 
take from the rental stables is named 
"Thunder." 

Now that you have money and fame, don't 
you sometimes wish for a life away from the 
crowds? I've not yet reached the degree of 
money or fame which would be stifling or 
monotonous. I'm anything but bored. 

Do you take in the night-life of Hollywood? 
Only occasionally. 

Which kind of part do you prefer — that of a 
gentleman or a roughneck? I like as wide a 
variety of parts as possible. 

What else have you done besides work in 
pictures? I've been timekeeper in a factory, 
an oil field laborer, a lumberjack, a stage 
actor, and a farm hand. 

Are you ever coming back here where you 
used to live as a boy? I hope to visit there as 
soon as I have an opportunity. 

Where do you. spend your summer vaca- 
tions? I don't have a regular summer vaca- 
tion, but I usually spend my leisure between 
pictures fishing, playing golf or hunting. 

Would you like to play the part of "The 
Sheik" that made Rudolph Valentino famous? 
No, I don't think I'm the type, and there 
can never be another Valentino. 

IIow can I sell a scenario I've just written? 
I can't advise you on that. The studios do 
do not read unsolicited scenarios. 

How did you happen to get the idea to 
become a movie star? I was on the stage — 
naturally, pictures seemed a logical step as 
they offered more money and wider oppor- 
tunities. 

Where did yon spend your boyhood? Most 
of it was spent in Hopedale, Ohio. 

Do you find motion picture work a nervous 
strain? Yes. When we work, we are on a 
terrific tension. 

How does it feel to be famous? I have no 
real fame as yet, and what I have is too 
recent to give me enough perspective to 
answer such a question. 

II'Aa^ effect do you think television will have 
on the screen? I'm not qualified to answer 
that one, but it's my opinion that it will be 
used in cooperation with pictures and will 
never entirely replace them. 

How did you get into the movies? I was 
playing on the Los Angeles stage in "The 
Last Mile" in 1930 and was offered a screen 
test and a small part in "The Painted 
Desert." 

How does Mrs. Gable feel about it all? I 
trust that she feels as any good wife would 
— anxious for her husband to succeed and 
overjoyed whenever he takes a step for- 
ward. 

It7;_v have the singing films gone? They 
haven't gone, entirely. When talkies first 
came in, they were overdone and the pubUc 
tired of them. 

Do you remember Harvey and Merle 
Parks, the boys you used to go hunting with 
and play basketball with when they were kids 
in Hopedale, Ohio? I'm certainly glad to 
hear indirectly from Harvey and Merle. If 
you have time, I'd be happy for further 
news about the boys. 

And there you are. If there is anything 
left to be known about Clark Gable, it's 
just an oversight. What a third degree! 
YouT Inquiring Reporter felt like a Father 
Inquisitor before he was through firing ques- 
tion marks at his hapless victim. But Clark 
seemed to enjoy it, which all goes to prove 
that his pals are right when they talk about 
his golf game and call him a glutton for 
punishment. 

Remember, next month it's Connie Ben- 
nett who's on the spot. And her replies 
ought to make very interesting reading. 



76 



The Strange Case of 
Duncan Renaldo 

{Continued from page 60) 

ser\e the two-year sentence, where can you 
go afterward? " 

Renaldo flung out his hands, desperation 
in the gesture: " I ask you ! " 

Heading for possible stardom, when he 
found the law weaving a net around him, he 
is penniless to-day. And if his appeal fails 
in May, he faces prison and deportation — 
and a new start far from the studios where 
he has worked so hard to succeed. How did 
he get in his difficulties? What is his story? 

"I was born in Camden, New Jersey, 
April 23, 1904," Renaldo says. "My father 
was a Scotchman named Francis Duncan, in 
the produce business. My mother was a 
Roumanian. I do not remember her. and 
my father is a blurred figure as I look back. 
The first I recall is living in a little village in 
Roumania with a family named Couyanos. 

Says He Was Called "American" 

"A /TV earliest memory is of wandering 

JLVJ. around the village, trying to talk 
to the other children. They called me 
'The Little American.' I cried when 
they jeered at me in a strange tongue. The 
members of the Couyanos family explained 
to me that they had brought me from 
America at the age of five after my parents' 
death. They told me where I was born and 
who my parents were. But they did not 
have a birth certificate for me. 

"And then war broke out between Rou- 
mania and Bulgaria and our village was 
under fire. The villagers fled in confusion. 
I found myself separated from the Couyanos 
family and became an apprentice shoemaker 
in the village of Galatz. 

"In 191 7 I decided I was coming back to 
my own country — America. I managed to 
get to the port of Constantaza and stowed 
away on a boat to Constantinople. From 
there I stowed on other boats and finally 
worked as a coal loader, hoping to earn 
enough to get to the United States. Not 
until 192 1 did I reach America. 

" I applied for permission to land as a 
native of the United States," says Renaldo. 
"The Immigration authorities asked for my 
birth certificate. I told them I was born in 
Camden, but had no certificate. They re- 
fused to let me land as a citizen. So I 
landed as an alien. Surely, as soon as I 
went to my birthplace, I could prove 
my citizenry. So I called myself a Greek 
and was given a sixty-day landing per- 
mit as Basil Duncan Couyanos. I was 
back on my native soil again — and I headed 
at once for Camden to try and find proof of 
my birth. I found the house in which I was 
born at 217 Federal Street. But the Court 
House had burned down and if there was a 
record of my birth, it must have burned 
with it. So I started hunting people who 
might have known my family. 

" My money was soon gone and I went to 
New York to get a job. I could paint, so I 
applied at a picture studio for a job as scene 
painter. And there I met Tommy Atkins, 
now an assistant director at RKO Studios in 
Hollywood. Tommy had known my father." 

Renaldo was a good-looking chap and 
soon found his way into the acting profes- 
sion. Hope Hampton gave him a part in 
one of her pictures in 1923. Before long he 
was directing short subjects for Colorart 
Productions, and was well on the way to 
success. And then he met an actress named 
Beth \'arden, and in 1925 they were mar- 
ried. And that led to Renaldo's making 
another error. In applying for a marriage 
license he said that he was a Roumanian. 
He was young and in love; to have come 
from a far-off place, even though not born 
there, seemed romantic, he explains. 
{Continued on page jg) 



NOW 




Bui 

how 

oj te n 

ordinary 

p o w d e r 

Leaves the nose 

looking like this 

after half an hour 



Of course you're lovely when you leave 
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77 



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44 



I'll Never Fall in Love," Predicts 
Ramon Novarro 



(Continued from page ji) 




home in the Hollywood hills, furnished it 
himself in the most modern fashion, and 
now lives there alone, with a couple to serve 
him. 

There has been no breach between Ramon 
and his family because of his departure from 
the family roof-tree. His mother, he told 
me, is the rare type who asks no questions, 
of her children, who does not feel or exercise 
the awful possessiveness of the Siher Cord. 
And when Ramon moved away from her 
home, for the first time in his life, he knew 
that siie understood his need for pri\'acy, for 
space to think and breathe. And it is be- 
cause of his family and his lox^e and care 
for them that Ramon will ne\er marry. 

"There have been stories," he told me, in 
his sadly tired voice, "to the effect that 
when I meet the Only Girl, I shall marry. 
But there will never be an Only Girl for nie. 
/ shall never marry. 

"I have never been in love. I never will be 
in love. I might not have presumed to make 
such a statement fi\'e >ears ago. There is a 
time in life when we are emotionally inse- 
cure, when it is not safe, or possible, to 
predict what we shall feel or do tomorrow. 
That time, for me, is gone. I am adult 
enough now to hear the warning approach 
of the amorous god. And if ever I hear him 
coming — as I nia\' — I shall run. E\en if I 
ha\e to run half-way around the world. 

Would Have No Other Choice 

"TT IS, you see, the only fair thing I could 
J_ do. I ha\e eleven people to support — 
eleven people of whom I am the sole support. 
My mother and father, my five brothers and 
four sisters. Financially speaking, alone, 
marriage would be impossible for me. My 
two younger brothers are just completing 
their educations. One has just finished col- 
lege. The other finishes in June. They are 
my 'children,' and my pride is in them. 

".My youngest brother wants to be an 
architect. I ha\e a great belief in him and 
in his ability. I plan to take him abroad 
with me when I go in the .Spring — after my 
next and, for a time at any rate, my last 
picture. It will be of great benefit for him 
to see the beautiful buildings of Europe. 
Then, when he returns, I hope to form a 
small company for him, equip ofhces, see to 
it that he is started. 

"/ ivas never intended to marry. That is 
my belief. That has always been my belief. 
If God had intended me to marry and ha\e 
children of my own. He would not have 
given me these read\'-made 'children.' He 
would not have placed me in a position of 
so much responsibility. 

"Nor is it only for financial reasons that 
marriage is impossible for me. It is, even 
more, the moral and emotional responsibil- 
ity of so many lives depending upon me. An 
individual has only so much of himself to 
give. I give all that I have to give to my 
people. I feel no sense of self-sacrifice about 
this; please do not misunderstand me. On 
the contrary, I feel a great joy that I was 
called to do what I have done and that I 
was given the power to do it. But I have 
nothing left to give to others. 

Has Never Had Time for Love 

"'~V^HA T is why I have never fallen in love. 
X. I know there has been some comment 
and conjecture about this. It seems curious 
to the majority of people that a young man, 
placed so advantageously among so many 
young and beautiful women, does not fall 
violently in love once, if not oftener. It 
seems curious for a young man never to 
become engaged to be married, never to 



marry. But I haven't the time or the 
energy. And love requires energy and the 
power of concentration. I know enough 
about it to know that. I simply haven't had 
either the time or the power of concentration. 

"From my earliest recollection, I have 
been absorbed in some interest or some com- 
pelling necessity every single instant of my 
time. The necessity to earn money came 
first. Which meant my work in pictures. 
Then there was m\- little theatre, my family 
my music, my boo.vs. There has been no 
space in such a life as mine for romance. 

"I have met girls I have thought I could 
care for, of course. But before I had time 
to draw the second breath, something has 
come along to take up every bit of time and 
energy I had to give. And the thought has 
quickly died. 

"Of course, I am exceptionally tired now. 
I feel empty and, in a sense, discouraged. 
Not about my picture work as a whole, but 
about the pictures I have had to make this 
past >ear or two. I couldn't see nijself in 
the football picture, for instance. I am 
weary of the stereotyped young Galahads I 
have had to play. I enjoyed doing 'Son- 
Daughter' with Helen Hayes and under the 
direction of Clarence Brown more than any 
picture I have done in a very long while. 
Playing the part of the Chinese youth gave 
me something to do, something to work 
with. It wasn't a terrifically important part, 
but it satisfied me. 

"I ha\e one more picture to make, in the 
early Spring. I believe the title is 'Man of 
the Nile.' It sounds interesting. After that, 
I am going immediately to Europe and 
begin my concert tour. It will be a long- 
dreamt dream come true — and I am in the 
mood right now when fulfilled dreams are an 
imperative necessity'. I feel that I have, 
perhaps, 'been around' too long. I need new 
fields. I need to drink at fresh springs. 

"I am working on my concert program 
e\ery spare minute of my time. I hope to 
be gone for at least three years. My voice 
may not warrant such long engagements, 
but it is possible that curiosity about a pic- 
ture star will be sufficient to attract a suffi- 
cient number of people. 

Feels an Urge for Escape Now 

THE urge to Get Away From It All has 
never before descended upon me. I 
have heard others talk about it and do 
things about it, and I ha\-e always felt that 
they were being a bit hysterical. I know 
better now. I had to get awa^' from home, 
to li\'e alone in a house of my own. I had to 
cater to whims and notions of my own that 
would be impossible for others to live with. 

"For instance, I am frequently seized 
with a sudden desire to play my piano when 
I am somewhere en route between my bath 
and my bedroom, clad as God made me. 
Now, living alone, I can gratify this desire. 

"I like to eat and to sleep when I feel like 
eating and sleeping. And well-organized, 
large families must eat and sleep on some 
sort of schedule. I eat and sleep, now, when 
and where I feel inchned. I am frequently 
disinclined to talk, to say an^^thing. A mute 
individual is not a very courteous member 
of a family. The four quiet walls of my own 
house do not care whether I speak or keep 
silent. ... 

"And so, it is better for me to go it alone, 
you see. It was better for me to move away 
from my family for the time, at any rate. 
It is better for me to go to Europe for a few 
years. It is infinitely better for me to go 
through life alone — my family for my 'chil- 
dren' and my music for my 'wife.' " 



78 



The Strange Case of 
Duncan Renaldo 

(Continued fro»i page yy) 

Renaldo then went to Hollywood, where 
he was given a big role in "The Bridge of 
San Luis Rey." Immediately, he was a hit 
and Metro-Goldwyn-Mayer executi\es de- 
cided on him for "Trader Horn." They told 
Renaldo to get ready to leave for Africa in 
three days' time. 

How His Difficulties Began 

"HPHEN came confusion and the start of 

JL my troubles," sajs Renaldo. "I had 
to get my clothes, sign my contracts, as well 
as make some retakes on another picture, 
and be inoculated against African diseases. 

"At the same time, I was seeking pass- 
ports. I asked Bob Roberts at the studio 
how to do it. He told me to secure an affida\!t 
from Tommy Atkins, who had known my 
father. I took the oath of allegiance, the 
studio officials ga\e the necessary informa- 
tion on the application. 

"As soon as I came back from Africa, I 
dashed to Camden again. I had been spend- 
ing most of my earnings on a detect i\e 
firm, who promised to trace my people and 
did not. This time I found a ninety-year- 
old woman, a Mrs. Riceman, who knew my 
family, but I had to rush back to Holly- 
wood and could not go on with my hunt. 

"Three days before 'Trader Horn' had 
its premiere — which I had hoped would 
mean so much to me — I was arrested by the 
Federal authorities. They wanted to de- 
port me to Roumania. I went to Washing- 
ton and appeared before a board of re\-iew 
of the Department of Labor. There seven 
judges of the board decided that I was born 
in Camden and was entitled, as a United 
States citizen, to stay in America. That 
was in 1 931. 

"My troubles seemed ended," says 
Renaldo. " I was about to start a picture 
and had a contract. And then — I was ar- 
rested by the Immigration authorities on 
the charge of perjury — 

Gives His Version of Case 

" ALL my mistakes of the past were 
/V dragged out. Then a birth certificate 
was produced, saying that X'asilie Dumitreu 
Cucghianaes was born in Roumania. But 
they did not produce anyone to prove that I 
was Cucghianaes. They brought a witness 
on from New York to identify me as his 
nephew. He testified, instead, that he was 
not my uncle and did not know me. Yet 
the jury found me guilty of making false 
statements in my passport application. For 
that I was sentenced to serve two years in 
prison. And I was fined two thousand dol- 
lars for calling myself a citizen of the coun- 
try in which I was born. 

"When I was living in New York in 1923, 
I joined the National Guard, the Seventy- 
First Regiment, and was assigned to Com- 
pany L They accepted me as a citizen. I 
wore the uniform of this country two years. 
I have an honorable discharge from the 
U. S. Army. The Department of Labor ac- 
cepted me as a citizen. But twelve men on 
a jury wouldn't accept me. 

"After I was sentenced, an application 
was made to the Roumanian Consul to de- 
port me. Speaking for his government, he 
refused, saying that his government had no 
proof that I was born in Roumania. So 
there I am. I have no country. I have 
spent my life and all the money I have ever 
earned in trying to prove my birthplace. 
Now my freedom and my future both go. 
I am li\'ing on the charity of friends, with 
only prison walls ahead — and when I have 
served my sentence, if I have to serve it, 
where can I go? Roumania won't have me. 
America says I don't belong here. Where do 
I belong?" 




Caution: To save lovely 
teeth — fight film 



FILM . . . what is it? A soft, sticky mass 
that stains teeth an ugly yellow. Food par- 
ticles cling to it. The mineral salts in saliva 
combine with film and form hard, irritating 
tartar that makes gums bleed. 

Film's greatest damage is done through 
tooth decay. In film are tiny, rod -shaped 
germs . . . Lactobacilli. These germs produce 
strong acid. This acid eats away the tooth 
enamel just as other acids eat into cloth or 
wood. Deeper and deeper goes the acid until 
the nerve is reached . . . the root canal 
infected . . . and unless repaired, results may 
well prove tragic. 

"What can I do to fight decay?" 

To fight film use Pepsodent instead of ordi- 
nary tooth pastes. Why? Because Pepsodent 
contains a special film- removing substance 
that is one of the great discoveries of the 
day. Its power to remove every trace of film- 
stain is revolutionary! Its notable distinction 
of being twice as soft as other materials in 
common use has gained wide recognition. 

And so, when tempted to try cheap and 
ineffective tooth pastes, remember the one 
safe way to fight film is to use the special 
film-removing tooth paste— Pepsodent. Use 
Pepsodent twice a day and see your dentist 
at least twice every year. 



See how rapidly film 
forms on teeth 




These teeth were 
absolutely free of 
film at 8 a. m. 
At noon— the film 
detector* solution 
wasapplied and this 
is how they looked. 

AtSp.m — thefilm 
detector*showsstill 
heavier deposits of 
film. Two-thirds of 
the tooth's surface 
is covered. 

AtlOp.m these 

same teeth were 
brushed with 
Pepsodent. Note 
how thoroughlyfilm 
has been removed. 



* A harmless fluid, used 
by dentisfci, which stains 
film so that the naked eye 
can see it. 



Pepsodent- 



is the special film-removing tooth paste 



79 




Dictated by Fashion 




. . . soft, rolling waxes 
abundant, lasting curls 



This year, your hats make demands of your hair and your hair makes demand 
of a wave — that only Eugene can satisfy. For only the Eugene Permanent Wave 
can give your hair the rolling, natural undulations and the flattering face-and- 
neck curls of the mode. 

Don't think that all permanents are alike. They're not. Don't think that any per- 
manent wave will do. It won't. This year, your wave must he perfect and its 
frame of curls for the nape of your neck must he permanent. You have that assur- 
ance when your hairdresser uses the internationally famous Eugene Method and 
genuine Eugene Sachets. Make sure that the Eugene Trade Mark figure, "the 
goddess of the wave," appears on each sachet or waving wrapper. Make sure for 
the best of all possible reasons: — The beauty and the safety of your hair! 
Eugene, Ltd. . . New York • London • Paris • Berlin • Barcelona • Sydney 



u G ^ n € 



Clothes Gossip from 
Hollywood 

{Continued from page 4.7) 

sports outfit — and plenty of people are going 
to like it. 

Before we left RKO the day we saw Con- 
nie in her grand sports idea, we were in- 
vited onto "The Great Desire" set, where 
Katharine Hepburn and Helen Chandler 
were engaged in a close-up, wearing two of 
the cutest sports outfits you'll be seeing on 
the screen this Spring. Helen's very man- 
nish suit is of heavy gray tweed, but the 
effective note of the entire ensemble is the 
red patent-leather scarf that she wears in 
place of a blouse and tie. There was very 
little dialogue in this particular close-up. In 
fact, the girls appeared to be merely glaring 
at one another o\er something or somebody. 
It couldn't have been an argument as to 
which looked the "sportiest," we hope? 

La Hepburn had an unfair advantage be- 
cause she was wearing a riding outfit with 
long tan flannel trousers, an enormous 
leather belt, a brown beret, and very slick 
and shiny boots. Which, put together, is 
just too much "sportiness" for any one suit 
to compete with ! 

Brown and white, and brown and tan are 
still the most popular color combinations for 
sports. Madge E\ans is even sporting a 
brown-and-white checked bathing suit of 
knit wool, especially designed for her! 

Some Girls Can Be "Trained" 

IF you are the "clothes type" — that is, if 
you wear the e.xtreme things with a cer- 
tain flare — what a grand time you are going 
to have with the graceful trailing trains that 
are featured on the evening gowns worn by 
Constance Bennett in "Our Betters" and by 
Claudette Colbert in "Tonight Is Ours." 
These are real honest-to-goodness trains — - 
not just the train-illusion that was par- 
tially a vogue for evening gowns last season. 

Connie, for instance, wears a stunning 
e\'ening gown of white unfinished crepe, 
with the entire neckline, both front and 
back, outlined in sable; and the train, if 
you please, starts at the natural waistline 
and falls in graceful fullness far out upon the 
floor. The train of Claudette's white satin 
gown, sleeved with silver fox, is a slightly 
different idea. About Claudette's waist is 
wrapped a sash — and the long streamers of 
this satin sash are what form the divided 
train effect of this beautiful formal gown. 
However, in appropriating these ideas for 
your own wardrobe, Claudette is por- 
traying a Queen in "Tonight Is Ours" and 
Connie a titled lady in "Our Betters." 

A far more girlish and youthful model is 
worn by Claudette in the romantic garden 
scenes of the same picture. It is an adorable 
blue organdie with a ruffled skirt of blue 
maline crusted with brilliants and pearls. 

If you're looking for tips for a brides- 
maid's dress or something very youthful and 
charming for graduation, you can't afiford to 
overlook the adorable white mousseline-de- 
soie frock with its fluted ruffles worn by Joan 
Crawford in "To-day We Live." Watch for 
that scene in which Joan bids her childhood 
sweetheart (Robert Young) "goodbye" 
when he is called for service on the North 
Sea. The sash is of brown velvet, and so is 
the little bow at Joan's throat. 

One of the most "different" evening 
wraps of the new pictures is worn by Helen 
Chandler in "The Great Desire." Worn 
over a dress of blue unfinished crepe, the 
flaring ermine cape covers one shoulder 
completely and fastens with a large ornament 
about the other, which is partially covered. 

Next month, Marilyn of Hollywood tvill 
continue her "inside story" of the fashion 
hints in the new pictures, including an ac- 
count of the newest and most startling things 
worn by Norma Shearer in her new picture. 



80 



Five Big Stars Are 
Retiring In 1933 

{Continued from page 2g) 

that might be offered me. It is a purely 
personal reason. You see, the movies have 
never been my entire life, as they have been 
to many other women on the screen. I 
have proved through actual experience that 
I can be very happy away from work — even 
the fame-bearing work of Hollywood. I 
believe I did prove it when I quit the screen 
for four years during my marriage to Phil 
Plant. 

"In the first place, I have made a good 
deal of money out of my stardom. I no 
longer have that financial incenti\e to keep 
on. On the other hand, I adore tra\el and 
a life of calm leisure. I enjoy ha\ing time 
to devote to my friends, which a career 
before the camera does not permit. Why, 
then, should I hang on to the hard work of 
being a movie star, when I am in a position 
to lead the sort of life I want to lead? 

"At the completion of my contract, Henri 
(the Marquis de la Falaise) and Peter (their 
small adopted son) and I are going to the 
South of France to live. I know that it 
would be impossible for me to remain in 
Hollywood and not want to work in the 
movies. I do not even know if I could con- 
tinue to live in America and not work. 

"I suppose, at first, that I shall miss it. 
Habit can be a strong tie. But I know that, 
once I have broken all ties here, nothing 
shall tempt me to return to a career. I'm 
not even leaving a mental loophole and 
thinking that, perhaps, I might make just 
one or two pictures a year! When I leave at 
the completion of my contract, I am not 
coming back to Hollywood or the movies!" 

Ronald Wants "a Breathing Spell'* 

RONALD COLMAN is not nearly so 
^ definite in his retirement plans as 
Connie. His announced two-year vacation, 
as Ronnie explained it to a friend, is merely 
"a breathing spell, a chance to catch my 
breath after years and years of the movies." 
Like the glamourous Miss Bennett, Ronald 
Colman, too, wants a rest. But the gossips 
will tell you that this is not entirely the 
reason why Ronnie is leaving Hollywood 
for so long a time. 

One very popular guess is that he may 
be planning to "sit out" the duration of his 
contract with Samuel Goldwyn. It is no 
particular secret that Colman and his pro- 
ducer have not been on the best of terms 
for the past year. In fact, it has been 
proved that Ronnie's two-million-dollar 
suit against Goldwyn, for a publicity state- 
ment which, he claimed "reflected on his 
character," was not a press-agent stunt at 
all (as first suspected by Hollywood), but 
an authentic peeve between star and pro- 
ducer. There is every indication at the pre- 
sent that Colman is going through with 
this contemplated suit. 

Hollywood damage suits have been known 
to^ drag out over very long periods. Can 
it be that Ronnie is merely seizing this ex- 
pected "hold up" of his screen activities 
as a most opportune occasion for a vaca- 
tion? Besides seeking a "rest," it is entirely 
possible that he will return to the stage for 
a time. 

Clive Brook is abandoning his motion 
picture career at the completion of his present 
contract for several good reasons, at least 
to the British Mr. Brook. To an inter- 
viewer, he recently said: "In the first place, 
I never intended to remain in Hollywood 
as long as I have. To be frank, I was 
tempted here by movie gold. I figured that 
when I had enough of it to live comfortably 
in leisure for the rest of my life, I would 
quit my acting career and devote myself to 
several other hobbies in which I am equally 
{Continued on page 8j) 



m M 



Cyke LI wH I ikai eyiliaYices 
ike heaaiif of ike siar 




• Light sets the stage in 
Hollywood. Cleverly it plays on 
the star and brings out all her 
beauty. Nowhere in the world is 
light more important than in the 
motion picture studio. 

That is why General Electric 
Mazda lamps are favorites in 
Hollywood. The lighting experts 
of the studios know that General 
Electric MAZDA lamps give as 
good and as economical light as 
scientific research can devise. 

You can have the same good, 
economical light in your home 
. . . if you choose the lamps 
that Hollywood uses. Look for 
the mark (^ on every lamp 
you buy. Then you will be sure 
to get good light at low cost. 

Ruth Chatterion 
in Paramount' s 
"Once a Lady" 





81 




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Will Ann Harding Remarry 
Harry Bannister? 



{Continued from page jj) 



man but that talk starts. "Who is the man 
Ann Harding is interested in? " the gossipers 
ask. 

You see, Ann, your plan has failed. 
Avoiding publicity has only whetted 
curiosity. Perhaps you will forgive me, 
after all, for breaking your silence, ^'ou 
told me so much about yourself when we 
last met — things that your admirers who 
read this story will really be eager to know. 
All of the people who are interested in what 
you do are not seeking scandal. 

Longed to "Get Away" 

ET'.S begin at the beginning from the 
time I droxe up the hil! to your home 
and saw you through the window. You 
were knitting, if you remember. 

"It's a hug-me-tight," you explained, 
holding up the woolen shawl, "(jrand for 
reading in bed these cold nights. I'm taking 
orders. Do you want one? " 

"I'd rather know what problem you were 
frowning over just now." 

^ our tone grew slightly more serious. "I 
was wondering when I am to have a parole. 
E\er since we finished '.Animal Kingdom,' 
I ha\e been trying to get out of town for a 
rest. Twice the studio has promised me two 
weeks, then story conferences ha\e inter- 
fered. If the studio could only decide what 
I am to do ne.xt, I could go away for a little 
while. I think I deserve a parole, don't 
you? I've been a model prisoner and. there- 
fore, should have some time off for good 
behaxior." 

It was your calling yourself a prisoner 
that made me realize just how much of a 
prisoner you ha\e been. 

"The hours hang hea\ily on my hands 
when I'm not working," you continued. 
"Jane, of course, takes up most of my days, 
bless her. A growing daughter demands 
more than a little time. 

"The evenings, though, are sometimes a 
problem. I read a good deal — all the new 
plays and novels that might ha\e a picture 
somewhere in their contents. I don't see 
very many people. The few really intimate 
friends I ha\'e !i\'e quite far away. Occa- 
sionalK'. they tlrop in for a while and we 
ha\e a game of chess. I've taken up the 
game, you know. 

"Then there are other games — anagrams, 
I)ing-pong and jig-saw puzzles. Bridge, 
however, is barred. People are too serious 
about bridge. It is an occupation, not a 
recreation. .'\nd it makes bad blood. I have 
enough enemies in Hollywood, if the stories 
that are circulated about me are any crite- 
rion, not to want to make more by becom- 
ing a bridge addict. 

Knows All About the Gossip 

""DEFORE you ask. I'll answer. Yes, I 
D hear almost all of the gossip that goes 
on about me. Folks at the studio seem to 
take keen delight in retaihng to me the very 
latest about Harding. If they don't tell 
me, they show me wha': has been printed, 
apparently carrying the clippings for weeks 
for the sole purpose of bringing gossip to 
my attention. 

"Sometimes these reports are amusing. 
The story about my huge telephone bill is 
the latest. It seems that I run up a monthly 
bill of between seven and eight hundred dol- 
lars for long-distance calls to Harry in New 
York. 'It would be cheaper to remarry,' 
advised the columnist who published these 
figures. 

"Just how that columnist obtained accu- 
rate information about my bills remains 
slightly obscure. Less than a dozen people 
know my private telephone number. I have 



it changed every month, at least. Not even 
the studio has it. When they want to com- 
municate with me, they telegraph. The 
'phone isn't in my own name and I, per- 
sonally, pay all bills. So how anyone can 
pretend to know the amount of my long- 
distance charges is beyond my understand- 
ing. Needless to say, the rumor is a gross 
exaggeration. 

"I do telephone Harry and he calls me, 
sometimes for no other reason than to talk 
to Jane, who is, you must remember, as 
much his daughter as mine. I 'phoned him 
on New Year's Day, for example, to ask 
how the play he was producing in New ^'ork 
had gone ov-er. It was scheduled to open 
New Year's Eve, but Harry postponed the 
opening in order to polish it up a bit. 

" Naturally, I was interested to know the 
reception afforded his initial production. 
That was the reason I called. To my mind, 
there is nothing unusual about such inter- 
est. I would feel the same way about any 
dear friend, anxious regarding his success. 
It is a normal attitude and I can't under- 
stand how it points to the pursuit of a man. 
Certainly, I have no intention of pursuing 
anyone. 

Must She Avoid New York? 

UNDOUBTEDLY, ff maidenly pride 
should cause me to attempt to avoid 
the reputation of chasing after Harry, I 
must never take a trip to New ''i'ork. I had 
intended to go recently, you know, and had 
e\'en booked transportation on an air line. 
My plans were changed when the studio 
called a story conference. But the news of 
my trip was broadcast just the same. 

"One obliging writer sent me romantically 
flying to Harry's side. Then, possibly dis- 
covering that I hadn't really gone, the same 
writer found an easy way of repudiating her 
own false report. She simply wrote of an 
imaginary return trip. Nice of her to bring 
me home again, wasn't it? 

" It seems a shame to destroy the roman- 
tic illusions so many gossipers hold for us. 
I ha\en't, howe\er, the remotest idea at the 
moment that Harry and I will remarry. I 
belie\e it will be better to remain just good 
friends." 

Since the day that Ann said this, she has 
been able to "get away" before starting 
work on "Declassee," and has visited her 
old friends at the little Hedgerow Theatre 
(one hundred and sixty seats) in Media, 
Pennsylvania, a suburb of Philadelphia. It 
was there, under the director of Jasper 
Deeter. that .Ann made her theatrical debut 
just twelve years ago in Susan Glaspell's 
"Inheritance." In honor of her visit this 
time, the Hedgerow Players again put on 
the play, with Ann in her old role — and this 
event increased Ann's desire to return there 
when she leaves the screen, to live and "to 
act in plays that really matter." 

Her presence in the East, so near Harry 
Bannister, led columnists to "play a 
hunch" and predict that they will remarry 
"at any moment." Against these prophe- 
cies you have Ann's own statement. Also, 
some of the couple's close friends point out, 
you have a contradiction in the fact that 
Harry's post-divorce effort to be successful 
in his own right has been temporarily frus- 
trated — his play having closed after one 
disheartening week. From a romantic view- 
point, this would hardly be an auspicious 
moment for remarriage. But let Harry pro- 
duce one hit or star in one hit, which would 
"justify" their divorce — and then Ann 
might quickly claim "a woman's prerogative 
to change her mind" about their being 
"just friends." 



82 



Five Big Stars Are 
Retiring In 1933 

{Continued from page 8i) 

interested. Writing, for instance. I was a 
journalist and short-story writer for years 
before I became an actor. 

"Several years ago, I achieved that nest- 
egg figure I had set for myself as a tidy sum 
to keep the wolf from the Brook door. But 
I did not quit. I signed another contract 
and kept on, in spite of the fact that I was 
no longer deeply interested in my work. 
Perhaps I have only grown stale. Perhaps 
I am just plain tired, and a rest of a year 
or two will see me anxious to resume my 
screen work. But at the present moment I 
feel that I can remain away indefinitely. 
The only way, really, to find out is to take 
a long vacation from Hollywood. Two 
years or more — it will need that much time 
to launch myself in any other line of work 
I may decide upon." 

Ruth Wants "a Calm, Sane Life" 

RUTH CHATTERTON'S ideas about 
^ leaving the screen are very similar to 
those of Constance Bennett. Ruth's big 
contract with Warner Brothers over a 
period of three years will earn her more 
than enough to permit her to live without 
financial worry for the rest of her life. Like 
Connie, she has many friends and associates 
outside the mo\ies. Just before Ruth 
sailed for Europe last year, she said to me: 
"I am departing for just a short vacation 
this time, but not so far away will come the 
day when I shall be leaving Hollywood for 
a long, long time. I can hardly wait to get 
to England. It will be heavenly to meet 
and talk with old friends again — people 
who have heard little and care even less 
about the mo^•ies. Don't misunderstand. 
I am really grateful for the success I have 
been permitted to make on the screen and 
I deeply appreciate all the friends a screen 
career has made me, but my real love 
always has been, and always will be, the 
stage!" 

Lately, however, as the Chatterton con- 
tract has only a picture or two more to go, 
Ruth's retirement plans have also included 
the screen departure of George Brent, who 
married Ruth last August. "Both of us 
have worked for the privilege of enjoying 
life calmly and sanely for so long," she 
remarks, "wouldn't we be foolish not to 
take advantage of the opportunity?" 

For years Ramon Novarro has made no 
secret of the fact that the movies have 
taken a bad second place to a musical career 
in his interests. A year and a half ago, at 
the completion of his eight-year contract 
with M-G-M (the longest contract any star 
has had with any one studio), Ramon an- 
nounced that he was leaving immediately 
for Europe to prepare himself for the con- 
cert stage and perhaps grand opera. 

Ramon Wants to Sing 

BUT at the last minute he decided to 
remain in Hollywood under contract 
to M-G-AI for one more }"ear. His close 
friends believe that Ramon was guided 
chiefly by the money involved, and that he 
was anxious to secure the financial inde- 
pendence of his family, as well as himself, 
before he definitely abandoned the movies. 
Now that year is up and Ramon has 
announced that, after finishing "The Man 
of the Nile," he is leaving for Europe. 
There he will devote himself to the study 
of music until he is ready to appear before 
the public in a new medium, as a star of 
the concert and opera stage. Ramon's days 
of being a movie star are definitely over! 

"I have had a delightful career," he re- 
marks. "I am looking forward to a new 
love, which I can only hope will make me 
{Continued on page 85) 



[LOWE I^ [FDE^gT gDQKlir 



yMTDl 



000 



I2/ ^y^/ ^'' 



♦/ 



'//r 



SHE THINKS : 

WHAT A GOOD-LOOKING 
MAN. ..NICE EYES. WISH 
I KNEW HIM_W///, /DO.' 



HE THINKS ■• 

THAT GIRL WENT TO HIGH 
SCHOOL WITH ME ....HOW 
PRETTY SHE'S GROWN. HANG 
it! THEY WON'T LET US 
TALK HERE 




TWO WEEKS LATER 

LOVE AT FIRST SIGHT, AUNTIE ? I BELIEVED 
IN n..TWO WEBKS AGO! HAD LUNCH WITH 
THE MAN, AN OLD SCHOOL FRIEND_HE 
PROMISED TO PHONE BUT HASN'T 



HERE'S AN IDEA. .BUT 
YOU MUSTN'T BE HURT 
IF I'M VERY FRANK /''^-^ 




'B.O." ENDED- 

JACK'S FALLING HARD! 



YOU'RE LOOKING SIMPLY SWELL TONIGHT ! 
HOW SOON CAN I SEE YOU AGAIN ? 





THE WEEK AFTER 

auntie's a DEAR- 
warning me 
about"B.O." 
in such a sweet 
way, then giving 
me a party, 
inviting jack 




LIFEBUOY'S GRAND. 

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f body odor) 

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"I'd Make a Terrible Husband!" 
Says Lee Tracy 

{Continued from page 4g) 



"I must have a phobia on the subject. 
Perhaps it comes from being an only child 
with no dear little brothers or sisters to 'give 
in to' or to share my all-day suckers with, or 
to scrap with. I never got the taste for a 
family scrap, I take it. 

"D'you know, back in New York, when- 
ever I felt low or depressed, I used to get on 
the subway and go down to the Long Island 
station and watch the commuting husbands, 
with that strained and anxious /?;<56a?zrf look 
in their eyes. And then I'd feel better, all 
pepped up and elated and pleased with my- 
self and everything. I'd go back to where 
I'd come from, a happy man." 

I said, "But don't you want children?" 

And Lee snapped back, "What for?" 

His Idea of Paternal Pride 

HE added, "Men want children — sons, 
preferably — because they think they 
are pretty damn good guys, themsehes, and 
they know they have to die someday, and 
they think that when they die their sons will 
carry on their name and, if blessed by the 
gods, something of their looks — and so the 
world will not have a good chance to forget 
them. They figure that, being pretty good 
themselves, their sons, being their sons, will 
be even better. 

"Of course, there must be something to 
it — I admit that. I know a whale of a lot of 
married men, with children, and they do 
seem to get more pride and joy out of them 
than can be described in words. I have seen 
the wildest Indian that ever scouted Broad- 
way turn into a church deacon with the 
birth of his first son. Yeah, there must be 
something to it — but I doubt that I shall 
e\er know, from personal e.xperience, what 
that something is. 

"I suppose, as I've mentioned, I feel the 
way I do partly because I was an only child 
and partly because being an only child made 
me almost completely self-sufficient. And I 
figure that self-sufficiency, if it isn't carried 
too far — to the point where a man is obli\u- 
ous to the needs and feelings of others — is 
about the greatest asset a human being can 
have. 

"Then, there is my mother. And she is 
perfect. Perfect, with all of its connotations, 
is the only descriptive word. She under- 
stands me. She sympathizes with me. She 
loves me. I don't know where, in what wife, 
I could find the equal of what she gives me — 
or why I should want to start a search. 

"Funny little thing, here recently, on a 
Thursday afternoon, my picture 'Washing- 
ton Merry-Go-Round', opened in Wilkes- 
Barre, Pennsylvania, where my mother is 
living now. And she wrote me that she had 
missed the matinee but had gone Thursday 
night, Friday night, Saturday afternoon and 
evening, and Sunday night and that she was 
'taking some of the ladies' to see it on Mon- 
day night. Can you beat that? 

His Parents Couldn't Object 

" A ^^I-*' at 'that, neither my father nor my 
l\ mother cared much about their only 
son becoming an actor. I can understand 
that to have your only son announce that he 
is about to put greasepaint on his face would 
not exactly swell the parental chests with 
pride. But they didn't raise any objections 
— they couldn't. And they couldn't because 
they had told me, all my life, that when the 
time came, I should be whatever I wanted to 
be and they would never interfere. 

"My father had hoped that I would follow 
in his electrical engineering footsteps. My 
mother hoped for one of the professions 
carrying the dignity of letters after the 



Tracy name. I had my eye on an M.D. — 
but having flunked every exam I ever took 
in German and finding that German was a 
mighty important part of a medical course, 
I decided that the writing of prescriptions 
was not for ol' Doc Tracy. 

"And I am glad I am an actor. I am proud 
of it. I have none of those Olympian yearn- 
ings to do Other Things. This is an odd 
growth to come out of my bean, perhaps, but 
I believe that every person should have a 
Mission in life. And an actor has one — he 
lightens the weight of woe in the World. 
He has as good a mission in life as the doctor, 
the preacher in the pulpit, the lawyer. 

"Apart from the mission angle, actors are 
happy people. Vou take the most hopeless 
down-and-outer of an actor and give him 
just one skinny, anemic ray of hope, one 
tiny break, and it's enough to put him in 
Seventh Heaven, enough to keep him happy 
for days. It takes so little to make an actor, 
any actor, happy. That's the reason why so 
many actors are liable to be poor, never 
know the meaning of saving. For them, 
there is no Tomorrow because To-day, any 
old rainy To-day is enough." 

Will Never Be Homesick 

"T)UT about this husband business," I 

1) said, dragging this particular, hard- 
working young actor back to a contempla- 
tion of the altar from which he shies. "Don't 
you ever want a home, a home of your 
own?" 

"God, NO!" Lee exploded. "I'd never 
live in anything but hotels and rented apart- 
ments, even if I married triplets. I always 
live in hotels or in furnished apartments and 
the more transient I feel in 'em, the better I 
like 'em. I wouldn't own a stick of furni- 
ture, not even an ash-tray — and that is 
probably a relic of my childhood, too. My 
father's being an engineer meant that we 
were on the road pretty much of the time 
and my roots never had time to dig down, 
and never will." 

"But," I persisted, "suppose you should 
fall — as men do — very deeply in lo\'e. 
What then?" 

"Then," said Lee, "I should hope to have 
the good fortune of falling in love with a 
very modern young lady. A young lady 
modern enough to believe that she could 
go on living happily without children, at 
least, being indispensable to her happiness. 
I realize the difficulty of this. There are so 
many modern young women to whom chil- 
dren are indispensable, while a husband is 
not. But I might find the combination. 
And if I did not, if this thing called Love 
actually caught me by the coat-tails, I sup- 
pose I would do what others of my free- 
minded brethren have done before me. But 
it will never be fast enough to catch up with 
me — and even if it does, I'll still make a 
terrible husband! 

"I think there's too much importance at- 
tached to sex, anyhow. Especially, here in 
Hollywood. It's the most se.x-conscious 
spot I ever hit. Sex has its place, of course, 
but every time a man looks at a woman, he 
doesn't have to forget that she may have a 
brain, too." 

"When you are old," I said, "when you 
are fiftyish — sixtyish — when the fever of 
fame has gone and you are alone — wonM; you 
wish then, that you had married, had a 
home, had children?" 

"I've told you that there is no Tomorrow 
for an actor," Lee reminded me. "Besides, 
what's the matter with the fireplace and the 
old carpet slippers?" — and then the director 
called him to "Clear All Wires." 



84 



Five Big Stars Are 
Retiring In 1933 

(Continued from page Sj) 

as many friends and well-wishers!" 

Tom Mix chose Christmas Day of 1932 
to announce his permanent retirement from 
the movies. "I haven't any fancy reasons," 
explained Tom. "After all, none of us can 
remain movie stars forever. There are 
always newer and younger attractions com- 
ing up. It's only right that we should move 
out and make room for them! Besides, I 
have a sneaking hunch I'm really just an 
old circus horse. I've got the smell of the 
sawdust in my nostrils again." 

Lila Lee is retiring from the screen in 
marrying George Hill, the director, and 
plans to keep in touch with the movies 
"only second-hand." Lila's reason is that 
she aches for a vacation that won't end 
until she wants it to end. "You see," says 
Lila, "I have been working since I was a 
child." 

Marlene Dietrich is abandoning her 
Hollywood screen career in the Spring, as 
soon as she finishes "The Song of Songs." 
She is returning to her native Germany, 
where her husband, Rudolph Sieber, is a 
director, and where, she has often said, she 
wants her little girl to be educated. She 
will make her future pictures in Germany — 
under the guidance of either Josef von 
Sternberg, her discoverer, or of her hus- 
band. In Marlene's case, her decision to 
leave Hollywood is dictated by homesick- 
ness and by a long series of disputes during 
her American stardom over stories, leading 
men and directors. There is talk, however, 
that Marlene will return to Hollywood 
under contract to another studio, after a 
brief vacation in Europe. 

And if George Arliss is knighted by King 
George this year, as it is reliably reported 
he may be, "the grandest actor of them 
all" will very likely go back to his little 
country place in England for the rest of 
his days, with every ambition fulfilled. 

Now, indeed, "the old order changeth". . . 

News and Gossip of 
the Studios 

(Continued from page 3 g) 

very maternal with Maria. (.She poses for 
news photographers in trousers of various 
hues.) However, at the dinner dance at 
the desert hotel, her costume was a tight 
black skirt, very short, with the regulation 
masculine tuxedo coat and shirt. Well, the 
newspapers say that women's styles for 
Spring "show a distinctly masculine trend!" 
And Carole Lombard, who has the reputa- 
tion of being one of Hollywood's best- 
dressed women, is taking to trousers, her- 
self. 

AT the opening of "Cavalcade," Will 
. Rogers announced that he wasn't going 
to pull any boners as he did at "Grand 
Hotel," when he hinted that a great Swedish 
star would appear — and then introduced 
Wallace Beery, garbed as a Swedish maid, 
who fluttered, "I tank I go home now." 
Drawled Will: "I've only got one unex- 
pected guest to introduce tonight — the 
Prince of Wales." 

HOLLYWOOD'S newest game is to col- 
lect Marquee-grams — funny combina- 
tions of names of pictures and stars on the 
marquees of motion picture theatres. For 
instance, here's a honey: "Two Kinds of 
Women" — Phillips Holmes and Miriam 
Hopkins. Here's another: Two Superb 
Features — Jean Harlow. And another: 
To-day Connie Bennett and Mickey Mouse. 



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86 



The Studios Know Your Secrets 
by the Favorites You Pick 



{Continued from page j^) 



women who want adventure and love and 
mystery, women who copy her eyebrows, 
her clothes, who mimic her slow, significant 
drawl — these are the women whose imagina- 
tions are stirred by Garbo. There is a sure- 
ness of allure about her that any woman 
would give her all to possess. 

Dietrich, on the other hand, is a man's 
woman — soft, deliberately provocative, ut- 
terly feminine. Yet girls in high school 
"adore" her, sensing not only her beauty, 
but the things they can learn from her about 
clothes, about posture — about men, for 
goodness' sake! Young, feminine America 
knows where to look — to learn ! 

Clark Gable is an audience-made player. 
He did not create a public. His public 
created him. His sudden, spectacular rise 
was due to one of those strange and unpre- 
dictable bursts of mass emotion. Suddenly, 
overnight, a million women discovered that 
he was what they had been looking for all 
their lives. Strangely enough, these women 
were not only hysterical adolescents, who 
thought he was "simply too marvelous," but 
they were also women between twenty-five 
and thirty-fi\e — women, perhaps, who were 
old enough to be a trifle discontented with 
the docile, commuting, polite, average 
American male. 

Older women are not included in Clark's 
public. When a woman matures, she looks 
a little for safety, tenderness, comfort. And 
the Gable we see on the screen would insure 
a lady of none of those things. He is a crea- 
ture of emotional uphea\-als. Men ha\-e 
never resented Gable as they have the other 
Great Lovers of the screen. There is some- 
thing honest and unassuming about him, 
something primitively masculine, that men 
admire. 

Both Young and Old Love Marie 

OLDER people, especially women, love 
Marie Dressier, because she gives them 
hope. Her courage and the fact that she 
achieved spectacular success at an age when 
most women are folding their hands — these 
things are inspiring to mature people. Her 
hearty comedy endears her to the younger 
fry, of course. But her fanatical fans are 
among people of her own age, people who 
used to see and love her years ago in musical 
comedy and vaudeville, when they and she, 
alike, were younger and spryer. 

Sometimes actors outgrow their audiences 
and must make efforts to acquire new ones. 
Colleen Moore was the flappers' dream of 
something or other a few years ago — and a 
tidy sum of money that audience earned 
her, too. Buddy Rogers was adored by the 
immature, and by old ladies who thought he 
was a dear boy and who used to knit wash- 
cloths for him. Both of them, growing a 
little older (and showing it in their two 
faces), must reach for a new audience now. 
A more mature and more acute audience, 
expecting them to be more mature and acute. 

Colleen says that Jean Harlow inherited 
some of her audience — flappers grown a 
little older — and Colleen wants it back! 
(Colleen, you know, almost got the part in 
"Red-Headed Woman." Wonder what that 
would have done for her?) Buddy thinks 
that his new-found friends of radio land will 
help him in pictures. We shall see . . . 

Mary Pickford passed through the same 
phase when she bobbed her hair, ceased to 
be "America's Sweetheart" and made 
"Coquette" — bidding for a mature and 
sophisticated audience. It hasn't been easy 
for Mary . . . 

Clara Bow was always the darling of the 
high-school youngsters, as the flaming, cap- 
tious redhead who "got away with things." 



Clara is acquiring a new audience now. 
And is she wholesome! 

Joan Changing Her Public, Too 

JOAN CRAWFORD is attempting a tran- 
sition, too. Joan has always been a 
perfect "date" for an evening for any two 
young people in search of entertainment. 
Young men were thrilled with her, wishing 
that their girls were a little more starved 
and big-eyed and vital. Girls liked her, too, 
taking a friendly and somehow un-jealous 
interest in her clothes, her figure and her 
dealing-with-men technique. But Joan is 
growing up. She has essayed some dramatic 
and important roles in the past year and a 
half, arousing the interest of the critics, 
who may or may not establish her in the 
ranks of those who are interesting because 
they act. 

That audience, if she achieves it, will be 
smaller than the one she has enjoyed until 
now. Remember Alfred Lunt and Lynn 
Fontanne in "The Guardsman"? Well — in 
a certain, fair-sized, fairly-sophisticated 
middle-Western city, exhibitors refused to 
show that picture. They didn't care if the 
critics said that it was one of the finest bits 
of work released in years. They were con- 
vinced that they could not fill a theatre for 
one night — much less two! — with all the 
Lunts and Fontannes and the entire Thea- 
tre Guild thrown in free. 

The Lunt and Fontanne audience, how- 
ever, was not to be frustrated so easily. 
They rented a small, outlying house, rented 
the film, and turned out en masse to applaud 
their idols. That picture was considered by 
the Academy of Motion Picture Arts and 
Sciences for its annual award of merit. But 
it didn't make much money! Most of the 
pictures that come "up" for artistry awards 
don't. Which is significant, I suppose, of 
something or other. 

To get back to audiences, Ramon Novarro 
tells me that he recei\-es almost no fan 
letters from lo\-e-sick maidens. Most of his 
mail is from older women, women who 
say, "I should like to have a son like you!" 
One old lady wrote to him once a week from 
the time he first started to work in pictures. 
At last Ramon became so interested in her 
that he sent for her to come and visit him. 
He paid her expenses from her New England 
village to Hollywood and invited her to be 
his guest in his home for a week. Enter- 
taining his public! 

There is something sinister about the dark 
good looks of George Raft that appeals to 
romantic maidens who long for a little 
danger in their lives — maidens who would 
be "just too thrilled for words" if they could 
meet a real gangster. George typifies, to 
them, the romantic, schoolgirl conception of 
the modern bad man. 

Paul Lukas is dangerous, too. He was 
typed in a dozen pictures as a home- wrecker, 
the understanding friend of misunderstood 
wives. At one time Paul was actually much 
upset over his fan mail, which came mostly 
from resentful males who called him names 
because, they thought, he was a menace to 
peaceful homes! Those who like Paul are 
women past the first excitement of youth, 
whose children are old enough to be "out of 
the way" and who feel that life still owes 
them a thrill or two. They thrill to Paul's 
way of kissing a lady's hand, his soft accent 
and his suave, flattering manner. 

Will Rogers and Wallace Beery are fnen's 
stars. Their best audiences are mature men 
— in business — with homely ideals and work- 
a-day notions about the primitive virtues 
and the elemental idea of masculinity, men 
who, on occasion, "talk politics" in loud 



voices, laugh heartily, and sometimes bore 
their plump wives! Nice, solid public! 

The Marxes Baffle the Girls 

WOMEN, they tell me, do not appreci- 
ate the Four Marx Brothers as men 
do. There is something about that mad 
humor that is too much for the average, 
prosaic lady to comprehend. The Marxes 
are called "a mental vacation." Maybe 
most women don't need one! 

An audience made up of children is, per- 
haps, the most profitable of all. Certainly 
the most enthusiastic. When Tom Mix was 
ill some time ago, one hundred thousand 
small boys sent him letters and telegrams, 
begging him to get well — for their sakes. 
Money or no money, that warms an actor's 
heart! 

Johnny Weissmuller is a boy's idol, too. 
Older boys than those in Tom's audience, 
boys who are just becoming conscious of the 
possibility of spectacular physical develop- 
ment, boys who are interested in muscle and 
agility and physical strength — these are 
Johnny's following. Women may rave 
about his physique, but it's the young boys 
who will keep him going! 

Conrad Nagel is beloved of solid, civic- 
minded family groups. Anita Page, Lois 
Moran and Mary Brian are "prom girls" — 
admired by college boys. Karen Morley, 
the acid, young sophisticate, is the idol of a 
certain section of modern young people. 
Bela Lugosi and Boris Karloff, strangely 
enough, are idolized chiefly by children — 
since it is the childish mind that derives the 
most pleasure from "being scared." Gary 
Cooper and Ronald Colman arouse the 
maternal instinct in a certain type of women 
— both old and young. Their public would 
like to pat them on the head and coo over 
them a little. 

Well — whose audience are you? 



World-Explorer Discovers 
Hollywood 

{Continued ^rom page jg) 

they were on their world tour. The three of 
us took photographs of each other in rick- 
shas. I was highly amused, when the 
prints were developed, to find that Dick, 
for years one of the brightest stars of an 
industry based on photography, had taken 
excellent snaps of his wife and myself — with 
the trifling error of leaving off our heads!" 

How Hollywood Tempted Him 

MORE seriously, he says, " Hollywood is 
a tremendous experience. That's why 
I came. That and — I'll be honest — because 
of the money that producers offered me. 
But I think I'd have done it for nothing. 
My life creed has been to seek a variety of 
experiences. And Hollywood certainly 
offers them I 

" I had never been an actor before. I 
don't count the reels of film I have taken 
with my portable camera all over the world. 
That wasn't real studio acting. Hollywood 
has been hard work — but swell fun!" 

Modest!}', he fails to mention the most 
startling points about his visit. For one, 
he's a famous author — one of the few whose 
every single book has reached the top of the 
national best-seller list and the very first, 
undoubtedly, to attempt the very different 
art of acting before the camera. That's a 
news angle! In a film, moreover, that was 
written, directed, and acted by himself. 

He has climbed the Matterhorn — not 

particularly proud of it, since other tourists 

have done the same feat; has visited the 

penal colony at Devil's Island; has made his 

{Continued on page 8g) 



^ Remarkable 



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"I Shall Marry Again," Says Jean Harlow 



{Continued from page 27) 



Will he be like Paul Bern, motion pic- 
ture executive, whom she wed last summer 
and lost a few months afterward to Death? 
Perhaps; Jean says her ne.xt marriage will 
be based on friendship and comradeship, as 
well as love. 

"I really have no idea what my future 
husband will be like," she declared. "I 
have been twice married to men who were 
as different as yesterday and tomorrow. I 
have no dream image, no little-girl-pictured 
Prince Charming. 

"In fact, I have had little opportunity to 
discover what is romance. I was married 
at the age of sixteen. Immediately after 
my divorce, I turned to motion pictures 
because I had to work or starve. Ever since, 
I have been too busy to experiment here 
and there with love. To be honest, I am not 
the experimental type; I could not be happy 
if I devoted myself to many men simulta- 
neously. Mr. Bern and I were married 
after a companionship that existed for 
longer than three years." 

Will she wed soon? 



Ambition Will Delay Romance 

"T DO not believe I will," she answered. 

J. "One reason is that I have a singleness 
of purpose; I like to accomplish things 1 set 
out to do. In a glass-topped case in my bed- 
room rests an unfinished handkerchief — • 
the only thing I e\"er began and did not 
finish. I keep it in plain view to caution me 
against quitting a job before it is done. 
At present I am a motion picture actress, 
and I am aiming at great stardom and 
wealth. I will not permit anything to inter- 
fere with my progress." 

Ergo, if she will not play, she will not 
meet playboys. From this may be deduced 
the fact that if she marries in the near 
future, her husband will be a man whom 
she knows or will meet in her own business 
world. Was this not true of Bern? 

"Yes," admitted Miss Harlow. "Paul 
and I took our problems to each other for 
years before we became such fine friends, 
and long before love came to us." 

Does Jean regret the lack of youthful, or 
schoolgirl, romance in her life? 

"Yes," slowly, thoughtfully spoken, "I 
think I do. Not having known it, I cannot 
be sure. I cannot say I like chocolate cake 
if I have never tasted it." 

Will her own children be given more 
opportunity to know the world? 

"Emphatically, yes!" There was no 
hesitation preceding this answer. "And 
there is another thing I will endeavor to 
bring into my children's lives that was not 
included in my own. As a child, I was 
always provided for; I never had to do any- 
thing for myself. My children, whether 
they are girls or boys, will go to work w'hen 
they reach the age of seventeen or eighteen. 

"Of course, should they wish to pursue 
professional careers requiring further study, 
they may do so. But I do not intend that 
they shall, after they finish school, have 
idleness suddenly thrust upon them at an 
age when idleness may misshape their 
young lives. I want them to have purposes 
in life, and I think purposes may be lost 
too easily in Good Times Land." 

Must Jean's next husband be rich and 
successful? 

"When I fall in love again, such things 
will not matter. I believe I will be more 
likely to be attracted to a successful — but 
not necessarily wealthy — man. I make this 
statement because, being ambitious myself, 
I have great admiration for men who ac- 
complish things. I do not connect money 
with accomplishment — a penniless artist 



whose paintings may become immortal is 
at least as successful as the millionaire who 
leaves only money to posterity." 
W'hat of his physical attractions? 

He Will Have Brilliant Mind 

IHAX'E no physical specifications as to 
my future husband's coloring, size or 
nationality," Jean said. "The two men I 
have married were very dissimilar. I will 
seek, above all, brilliant mentality; I do not 
believe I can be attracted to a man other- 
wise. If I marry within two or three years, I 
hope he will not be an actor, because I fear 
our careers might conflict and bring unhap- 
piness. Otherwise, I will not care what his 
business interests may be." 

People who know Jean Harlow intimately 
realize that she does not choose her friends, 
nor her husbands, for what they may be 
able to accomplish in her behalf. 

Following both her marriages, people who 
do not know her gossiped that she had bet- 
tered her position. AIcGrew, they pointed 
out after her first wedding, was very 
wealthy. But when Jean separated from 
her first husband, she did not ask for or re- 
ceive a penny of alimony. That was why 
she had to go to work, and she chose motion 
pictures. ■ 

After her marriage to Bern, a producer 
and executive, there were cruel rumors that 
"Jean had bettered her screen position." 
-She was wise enough and inherently refined 
enough to ignore such gossip, to treat it with 
the quiet contempt it deserved. Long be- 
fore Bern's death, Hollywood understood 
that she married him because she loved, ad- 
mired and respected him; and that she 
might have married a far wealthier, far 
more powerful motion picture executive. 

And her present friends? 

Her Friends To-day 

"T KNOW only a few men intimately," 

I she answered, and then enumerated: 
"A studio publicity director, the West 
Coast head of a national advertising com- 
pany, two motion picture magazine writers, 
and one or two other charming gentlemen. 
In these friends I have found boon com- 
panionship, not too serious." 

Not until very recently has she appeared 
publicly. She is perhaps the only case of a 
Hollywood widow who kept mourning for 
her deceased husband, during which period 
she remained at home and saw no other 
men, except at quiet dinners around her own 
table. During the several months of her 
mourning, she devoted herself to the build- 
ing of her comfortable new home. It is a 
house of many rooms — sufficient to provide 
room for a man and wife and children. 

Might she not marry one of her present 
friends? 

" Perhaps, if we fell in love, and he asked 
me," Jean answered, laughing. 

But would she wed one of these compara- 
tively unimportant men, if she were privi- 
leged to choose between him and a powerful, 
rich motion picture producer? 

Again she answered, " Yes. It will be the 
man, and not the money or position, I 
marry. But there is no one man now. I 
have no romance at this moment. And be- 
cause I have a steadier head on my shoul- 
ders, thanks to experience, I am not likely 
to repeat my sixteen-year-old, hasty mar- 
riage of five years ago. I expect I will re- 
main single for at least a few years to^come. 

"Not for much longer than that. I am as 
emphatic about marrying again as a person 
can be, while not believing that humans 
may forecast the future. But if my hopes 
count for anything: I shall marry again." 



World-Explorer Discovers 
Hollywood 

{Continued from page 87) 

living for a month in a foreign land with the 
help of a trained monkey and a hurdy- 
gurdy — and reported his exploits in a fresh 
and novel literary style. They assign his 
books in schools for required reading — and 
that's fame! His "Royal Road to Romance" 
was first published seven years ago, when he 
was barely twenty-one. Fox has purchased 
the screen rights to it. For, if Halliburton 
has disco\'ered Hollywood, he has also been 
disco\ered. 

Recently, he published "The Flying Car- 
pet," a record of his flight in a 'plane of 
that name from France to and around Mt. 
Everest, Borneo, Timbuctoo — points he 
\isited for no saner reason than that they 
sounded far away and mysterious. Then a 
producer suggested making a picture of the 
reels of travel film he had accumulated. 

"India Speaks" is a composite of his 
own film, with added scenes to give conti- 
nuity and dramatic form. It is one of the 
few times, incidentally, that a fledgling 
actor has been permitted to play the role 
of his own life history! 

"A swell break," Halliburton calls it. 
" I've heard actor-friends on all sides wailing 
about miscasting. At least, I can't com- 
plain of that! " 

He was the first man ever to swim the 
Panama Canal, with the great locks lifting 
tons of water for the lone swimmer just as 
they would have for the biggest ship. He 
doesn't take himself too seriously. He swam 
the fifty miles in daily stages. He laughs 
over the small number of miles he accom- 
plished each day. (And emphasizes the fact 
in his books.) But for the skeptical who call 
him a tea-party adventurer, it is on the 
record that he did swim thirteen miles in 
one day. He wishes some of his critics would 
try it! 

And adds that he never pretended to any 
great physical endurance, anyway. That's 
one of the criticisms that annoy him. "I'm 
no flagpole-sitter," he protests. 

Reel Adventures vs. Real Ones 

WORKIXG in pictures, however, is as 
difficult as anj'thing he ever tried. In 
Kashmir, for instance, had occurred an 
episode with a beautiful Kashmiri maiden. 
Halliburton spoke no Hindustani and the 
girl no English. They sought a means of 
communication — oblivious to everj'thing but 
each other — when a sudden rainstorm 
drenched the romantic Shalimar gardens 
where they stood. 

Naturally, his camera had been absent on 
this occasion. When they repeated it, in 
Hollywood, for inclusion in " India Speaks" 
(he already had shots of the maiden, the 
garden, everything but the rainstorm), they 
used a length of hose and the local water 
system. The original \-ersion took fi\'e 
minutes. The Hollywood repetition, with 
retakes, lasted all afternoon. The intrepid 
explorer retired immediately afterward to a 
Hollywood hospital with the "flu." 

That's a story he tells on himself. (It's 
a nice commentary on our versatile town 
that a perfect double for the Kashmiri girl 
was discovered with ease!) What he fails to 
mention is that he got up out of bed a few 
days later to go to Yosemite, in ten-below- 
zero weather, to make additional shots. 

That's the sort of thing he means when he 
says that you get so darned interested doing 
things that you forget the hardships. That's 
how he accomplished deeds that people 
would consider impossible. That's why it is 
now, at boys' schools and colleges, rather 
than women's clubs, that he is a favorite 
speaker. And that's why you'll enjoy get- 
ting a glimpse of him on the screen ! 





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How Would Technocracy Change 
- Hollywood? 



(Continued from page 5j) 




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that's your privilege — but you'll be paid 
only in public acclaim and self-satisfaction. 
And if the producers want to produce, 
they'll be paid in the same fashion.' Let's 
suppose they said that to every actor ..." 

"Well," I urge